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

Advertisements

Some new music

June 27, 2011

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

Enjoy!

My music

June 20, 2011

Here’s a link to some music I make with a trio in my apartment.  I’m on piano.

http://www.myspace.com/saltwaterandthefunky24bits

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.

Dialectics-As-Process

February 3, 2009

dinosaur-fossil-scelidotherium_leptocephalum_side

The context that postmodern aesthetics takes into account, traced back to Frederick Law Olmsted’s creation of parks in New York City in the 19’th Century, developed into a massive dialectical relationship of the landscape to human activities, be it social, political, and natural. The vastness of the context, for some post modernists, spans all the way back to the paleolithic era encased in permeable glass in museums – the bones of a triceratops still undergoing the culturally emergent notion of entropy – to the extrapolated second law of thermodynamics, that says, in the future, the universe will become an all-encompassing sameness, all the way to the irreversability of eternity. The context encompasses our (biased) epistemic evolution along with the actual landscape in a dialectic-as-process that is never finished.

mayan-ruins1

I think dialectical relationships need to be specific. For instace, a dialectic between a landscape and a map must consider a broad contextual range, meaning that the physical sciences must be employed to establish the “side” of the landscape in the dialectic and its relation to the “side” of the map. Physical history, like geological time, of a particular landscape (site) is in a continual relationship with the human activities (social, political and natural). The primordial eras are entombed in permeable glass cases, where heat can escape the fossils of dinosaurs. We have a relationship with the primordial era through the archeological digs that brought up the fossils from rock layers in the earth. They are now entombed in museums. The entropic geological time, then, might be said to be in a relationship with the social, political and natural human (cultural) activites manifested in the “landscape” of the architecture, and design of a history museum. The preserved history is what some postmodern artists were interested in, as they could use a physical landscape of a museum to establish a dialectic with the maps. The social, political, and natural (i.e. biological evolution) histories are found in ruins like pompey, cathedrals in europe, Mayan Pyramids, and even the deteriorating archtecture of today. History proper, is a fiction to some. The people that hold this view become interested in the ruined landscapes of past civilizations, fossils found in the rocks, hieroglyphs, language entombed in books – all real stuff – even the buildings erected today that “rise into ruin, rather than erected for the future.” (paraphrasing Smithson) The future becomes forgotten in the past – meaning in the instant a brick is layed, it is already in ruin. The future is remembered through the past.  The history museums are an actual landscape undergoing physical processes alongside cultural processes. This way, a map of the past can be developed from a transitory landscape evolving along with human cultural activities.

In simpler terms, All of the physical Sciences, aesthetics, semiology, architecture, and art are employed on actual landscapes to make maps of history. It is a deconstruction of Idealistic historical dialectics, through the belief in material reality. Alot of artists were reading Borges, Merleau Ponty, Levi-Strauss, Olmsted, physicists, biologists, chemists, geologists, etc., which reconstructed this deconstruction of history-as-an-idea.

All of these sciences are themselves an historically contingent cultural emergence that change alongside with the landscape. The landscape is no longer a “thing-in-itself” but a “thing-for-us”.