Hi. How Can You Help Me?

September 3, 2013

Schizophrenics are useless to Western Civilization.  I don’t write that in haste either.  I can’t hold a job.  I sit around by myself all day, play piano, make art, play video games, cook, read, eat, sleep, cry.  The Capitalistic thrust of the human human spirit is born from our epistemological tools to manufacture technology (that which makes something more efficient).  Whether it be as profound as the development of language, or as complex as the UPS’s implementation of GPS within a logic pipeline to push a piece of merchandise into someone’s home quicker, people seem to have an obsession with utility.  This obsession is crafting a lens for humanity that refracts only the social / cultural / economic utility of what’s ‘out there’ into the mind (If you disagree with me on this, try to find something meaningful that does not serve some socially relevant function).  With the small percentage of wealth (both financially and socially) that is ‘up for grabs’ in today’s global ecosystem,  people seem to look more into the utility of each individual.  In the case of the Schizophrenic, there is no utility there, hence no respect.  People will look right through you, ignore you and neglect you until you feel like you can walk through walls like a ghost.


Working under the aesthetic premise that it is the context of some physical thing that charges it with meaning, I would like to say a few words about music.  It’s actually quite simple and not that profound at all, but frequently looked over by musicians and other artists.  Music is simply a way for cultures to communicate with one another.  Any other discussion about music is merely talking about taste in some ungrounded theoretical way.  The context of a song at a particular venue is what charges the tune with cultural power, similarly to the way the context of a symbol can charge it with meaning, like in natural languages.  It is the language of inter-cultural discourse.  In a phrase, tone or rhythm, musical histories that extend into socio-political histories are summoned to the venue.  It doesn’t matter if you’re playing Metal or Punk-Classical.  You are inevitably continuing the historical inter-cultural dialectic, either through an embrace or rejection of musical sensibilities throughout history.  If you accept the premise and follow it through, as a musician, you are the voice of a people in a vast history of cultural dialectics.  Musical traditionalists that adhere to strict tonal, rhythmic and emotional limitations are as mute to cultural discourse as a Cubist painting hanging on a white wall in a museum. Image

Some new music

June 27, 2011

These tunes were professionally recorded by a good friend of mine…


Some thoughts on Cybersemiotics:

“Peirce operates with a triad composed of a sign vehicle (the Representamen), an Object (a certain aspect of reality), and an Interpretant that is a more developed sign in the mind of the perceiver/observer/communicator. These three categories were so basic that he called them Firstness, Secondness and Thirdness… In the sign process, Representamen is first,
Object is second, and Interpretant is third. In Cosmogony, mind is first, matter is second, and evolution is third. In cognitive psychology, perception is first, experience is second, and understanding is third. Ontologically, chance is first, mechanical law is second, and the tendency to make habits is third. Peirce defines his Firstness as a chaos of living feeling with the tendency to assume habits.”

– Soren Brier, Cybersemiotics: Why Information Is not Enough

In Pierces semiotic Triad, the symbol is Primary – the representaion of an object. As one assumes this primacy, the open ontological chaotic “system” becomes a closed system upon evaluative parameters. Within this closed system, a triad can be developed between the representation, what it represents, and the interpretation. Although, the object it represents is in many ways outside of the triad. I think the object must take on a purely denotative (“topographical”) role, and not an ontological role. So, most of the object becomes lost in the system. Also, at another corner, the interpreter takes on another role where certain aspects of it become lost in the evaluative importance of the symbol. The symbol becomes full, where the others become partial. The system already has within it possibilities of other systems, as well as the possibility of merging these systems through cybersemiotics.

The interesting thing about systems, I’ve found, is that they are analagous to different types of lenses – The lense of our eye to the “lense” of an electron microscope.  As with our eyes, when we focus on a single point in space, the point is of primacy as everything else becomes peripheral. Focul Points and periphery seem to be the general problem of all human enterprises. The steroscopic vision is unnatainable. It can only be attained through transrational means, where the focul points merge with the periphery in equilibrium. The only way to eliminate evaluations, isolated systems, high and low probability, plausibility and implausibility is to eliminate the current paradigm of rationality and go beyond it, but not without it. That is, if you’re not shooting at pragmatic targets, but at a chaotic ontological “totality”.

Though, ontology will never be total as it will always be reduced to mnemonic metaphors.

Sub-symbolic and pre-logical neural networks – the organic matter of the brain, in other words – in a few fancy terms is, what I think our linguistic and logical (meaningful) faculties emerge from. These neural networks are physical structures in a (cybernetic) autopoietic (automatically produced) feedback loop with perception. They are considered foundational to perception, even. For instance, the nerve endings in the eye (the retina) process light into perceptual information by transforming light into a digestable nerve-compatible material, that the optic nerve sends to nine nuclei that relay this information into the visual cortex which actually makes the initial signals from the optic nerve more complex. This example, I think illustrates how nerve digestion and processing of light is an increasingly complex process that is a pre-logical, sub-symbolic material process. After the additive complexity within the primary visual cortex, it becomes even more complex as the brain, through neural communication and organic mutation, processes the perception with hyper-complex (cannot predict it mathematically) logical and symbolic faculties. This hyper-complex structure of “buzzing” neural networks become meaningful only to the extent that “difference makes a difference”. What this means, I think, is that meaning is not something that nerologists will find in the brain. It is emergent from neural networks – but these neural networks are a historically continual process; meaning that there is never a physical gap in the evolution of bodies (and brains).

Evolution is a continuity that never ceases, in other words. Neg-entropy is an explanatory tool that combines thermodynamic entropy with informational entropy in hopes of creating a new evolutionary theory that combines matter, energy, and information. (Soren Brier) Meaning, then, under this theory is understood to be a methodological combination of Cybernetics, Neurology, thermodynamics, linguistics (particularly Wittegenstein’s language games), and semiotics in a field called, Cybersemiotics.

So where, how, and when perception becomes meaning, can only be answered partially right now, I think.

Optical Actualities

January 16, 2009

Enantiomorphic Purple light – a suggestion


 Trisoctahedron crystal symmetry


The three-dimensionality of the Necker cube is an actual three dimensional space, when considering the stereoscopic optics of the eyes. The necker cube and other three dimensional “optical illusions”, are actually three-dimensional. The enantiomorphic (or stereoscopic) vision, is an unresolved tension between disparate dissimilars (like words or lines) that only become three dimensional, when the literary mind is suspended from the stereoscopic vision of the eyes. We can see this, because the abstract lines of the necker cube refer to nothing. They are uncontaminated by “concepts”. It might be said, that they enter the eyes without entering the mind. It only becomes more apparantly three-dimensional, when the content (or the literary mind) no longer has any power over the abstract…

Smithson actually describes his enantiomorphic vision as stereoscopic vision here:

Smithson’s Steoscopic Vision:

“The dual Globes that constitute our eyes are the generators of our sense of the third dimension. Each eyeball contains a retina that functions like a photographic plate inside a spheroid camera. Rays of light penetrate the transparent cornea, the pupil, the crystalline lense and the vitreous body until they reach the end…[The eyes] percieve through a mental artiface of directions without determined distances, which in turn gives the illusion of infinite spaces… The binocular focus of our eyes converges on a single object and gives us the illusion of oneness, so that we tend to forget the actual stereoscopic vision of our eyes or what I will call ‘enantiomorphic vision’ – that is seeing double… In [Enantiomorphic Chambers – a work of Smithsons], the vanishing point is split or the center of convergence is excluded, and the two chambers face each other at oblique angles, which in turn causes a set of three reflections in each of the two obliquely placed mirrors. A symmetrical division into two equal parts is what makes it enantiomorphic; this division also exists in certain crystalline structures” – Smithson, “Pointless Vanishing Points (1967)” (my “enhancements”)

The thing that I find interesting is that the illusion of oneness, is a “binocular convergence on an object”. It is a type of binocular focus, an adjustment of the “vitreous body” to make literal sense out of an actual stereoscopic vision. It is the literal sense of vanishing points, upon convergence of the eyes, that allows us to see the objects as whole, when (for Smithson at least) the objects were “pointless”, arrayed in symetrical reflections in the enantiomorphic chambers of the eyes. In this nonsite, or indoor earthwork by Smithson, the subtraction of the literalness of vision – the act of binocular communion on an object is taken out. What is left, is actual stereoscopic vision. This was, in part, the significance of the crystalline for Smithson.

The coheseive focussed literalness is an interference of the analytical mind, to use my vocabulary, whereas the actual mirrored geometries of enantiomorphic vision are not coheseive. The literal points – the illusory morphology of the landscape – become pointless. This is an enantiomorphic vision, where the mirrored oblique reflections form perfect symetries, where the literal points of reference shatter into an array of matter, with no reference points. Without the literal (analytical) mind, the vanishing points, the communion of objects disintegrates. The object is no longer a whole, but an array of perfectly symetrical refractive and reflective light, like in certain crystal structures. The enantiomorphic vision is “foundational” to Smithson’s aesthetics. It is a way of seeing without the literal mind interfereing. (see above post # 382 on literalness) This is stereoscopic vision – the actual. For every point in the illusory infinite space (an infinite number of literal points), the points, when viewed enantiomorphically (or stereoscopically) disintegrate every point into two. It is an unfeasable image. But the literal mind is feasable as the “fused image” in stereoscopic vision, as James P. C. Southall diagrams in his, Introduction to Phisiological Optics (1961):


Smithson’s superimposed notes are in red. (I had to reproduce this in photoshop, because the internet didn’t supply the image for me.)

The “illusionistic space” is the fused image, if you consider this diagram. The fused image is the picture plane, or the stereoscopic vision combined. This is an illusion. The note “solid time” is where the images are enantiomorphed into seperate “pictures”. Although, Smithson’s stereoscopic vision differs from this one, in that the literal mind, when suspended from vision, does not result in pictures, but oblique angular refractive, symetrical reflections of light that double the already infinite vanishing points. The fused image of the photographic eye, and the literal mind, make the seen world appear cohesevely as a whole of infinite points, where the enantiomorphic vision allows the world to appear as an infinite number of “double points” making the world no longer appear cohesive at all, but rather ambiguous, and scattered.

So literacy, is an illusory impediment of the mind onto the senses. But, when one looks at things without reading them, without a categorical containment of the mind, it becomes a three-dimensional power struggle because of the disparate dissimilars in the enantiomorphically seen world. So, two dimensions is the illusion, considering that it is a product of the interference of the literary mind with the eyes. And three dimensions is the actual, considering it is percieved when the literal mind is lifted.

Radioactive Matter

January 6, 2009

Or, Emotional Buzz Words

“By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a ‘logical two dimensional picture.’ … The Non-Site (an indoor earthwork) is a three dimensional logical picture that is abstract, yet it represents an actual site…” – Robert Smithson, “A Provisional Theory of Non-Sites”

Science has extended beyond conventional mythologies of old, now mapping the brain with Positrin Emission Tomography, or PET scans.  They are “three-dimensional” maps of neuro-chemical processes in the brain.  In these short films, the brain becomes a radioactive “material” ebbing and flowing, like a nuclear waste dump.  The activity in the brain is isolated into sections called, “The Frontal Lobe”, “The Temporal Lobe”, and subsections called, “visual” and “auditory”.  But, the visuals and sounds are nowhere in these maps.  It is really a two-dimensional short film of the temporally dependent organic matter that maps reflections.  It is a continuous map of mapped reflections, where neither the map, nor the reflection are metaphored in three dimensions.  It is nuclear waste pulsing and wobbling in eight-bit resolution.  The neon art of Bruce Nauman comes to mind.  The buzzing electric words, like “human”, “hope”, and “desire”, are materialised in three-dimensions.  “Hope” radiates in an electric red at both a visual and auditory scale that is detected by the eye and ear.  “Hope” is no longer a concept in the mind, but a surge of electric noise and light rattling the senses.  Hope here, is felt by the body, rather than conceptualized by the mind.  One might wonder what three-dimensional qualities, “The Cerebral Cortex”, or “The Frontal Lobe” might have if sent buzzing through a neon tube. 


Maybe creating a three-dimensional metaphorical brain is impossible, where one doesn’t reduce the brain into a library of concepts, but makes it a sensational experience.  How does one feel the three dimensional metaphorical brain?  Perhaps Bruce Nauman has already achieved this through emotional buzz words.