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

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My Paintings

October 21, 2010

www.workingpaint.wordpress.com

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”.

(Al)Readymade Shit

February 3, 2009

Piero Manzoni’s Shit:

canned-shit

There is alot of shit that passes for art. The thing, in particular, that makes Piero Manzoni’s readymade shit art, is that it is a cultural, and historical reaction to modernism. It is anti-modernist shit-art. It is a rather violent attack against the more recent movements in modernist art, like surrealism and cubism. These are, in many ways, decorative illustrations of the unconscious and theories (like Freud and relativity), repectively. They are illustrations, insofar as they synaesthetically render a provisional theory into a decorative format where it only buries the senses further into the abstractions and fictions of the mind. They are overwhelmingly cerebral, while, at the same time, annhialate all context in the museum through thier isolated illustrations. The cultural dialectic is compacted into a single point in a museum, where it drains all of its power. There is no context in this art. It is rather a mute illustration of a concept. They are decorative collages, growing from a German Ideal of the sublime or beautiful. Though, the “beauty” in it is an intersubjective cultural emergence without accounting for the dialectics-as-process of the evolution of beautiful. They are mute, immoble tombs of ideas that don’t shift. This is the modern art museum – tombs that preserve and drain art of its power, by neglecting the dialectic.

I wonder why there is a prevading “monumental” mystery about the explosive contextual scope of postmodern art. In any case, I think it is this “monumental” myth about postmodern art that allows illustrations of the supernatural to pass as art (like Alex Grey). “Art” (illustrations called art) is powerful in a misinformed culture, only because of the cloak of mystery it is shrouded in. Art is valued all to highly because there isn’t even a consensus cultural interpretation of it that even remotely comes close to understanding it. So now, decoritive illustrations of the supernatural pass as art because of the prevalent and powerful cultural myths about it.

The canned-shit of Piero Manzoni is art because of the account of the cultural context in which it is placed. It is powerful, both historically as a path to postmodernism, and culturally, because it is electrified with the power of the historical and cultural context in which it is placed. It was the beginning of an explosively explicit dialectic of many histories.

Alex Grey’s illustrations as art are (al)readymade shit.

obama

Material Synaesthesia:

Language is a synaesthetic metaphorical material behavior (i.e. written symbolic metaphors, acoustic symbolic metaphors) of humans in a dialectical relationship with the actual material landscape. It is a culturally emergent, evaluative process that evolves along with the actual landscape – a “thing-for-us”. This landscape (a “thing-for-us”) is “under” the entropy of our evaluative, culturally emergent physical laws (like thermodynamics). It is an irreversable entropic eternity. In other words, this process never ends.

An example:

I think it is the synaesthetic transformations from one sense to another that is what, sensationally, distinguishes us from other creatures – the degree of detail to which we are able to transform one sense into another. This, I think, is really what metaphor is – synaesthesia manifested. The convergence of the patterned frequencies heard by the ear, and the (different in type) patterned frequencies recieved by the eye occurs in the imagination. Even the first representative sound uttered by a human being was a metaphor for, say a rock. It was a synaesthetic translation from the range of some sense(s) into sound. The metaphor was waving in the air. The rock, from then on had been essentialized, and reduced into an acoustic metaphor wobbling in the ether and resonating in the bodies of the community.

The rock could be synaesthetically moved around away from the rock to the campfire, or on the hunt. The rock was now mobile, as a reductive metaphor.

Concealed conceptual synaesthetic abstractions within a literal context (metaphor):

Even a literal statement can conceal a metaphor. This is a type of syneshesia, where the seemingly literal “surface” is only literal because it has within it abstractions. These abstractions are only rendered with power in a context of varying disparieties. As contextual relations are established, the the degrees of abstract oppositions emerge. They emerge as synaesthetic conceptual metaphors, where a word in a context that is a seemingly topographical literal statement conceals an image, taste, and even sound. Location turns into, through conceptual synaesthesia, an imaginative experience.

An example:

The context in which the word “potato” is placed determines its power and meaning. Concealed within words in a context are abstractions, like color, taste, sound, line etc., that enlivens the imagination. However, it is only through the concealed abstract oppositions in a sentence, pragraph etc., that make a potato what it is. It is made what it is by the contextual degrees of oppositions. For instance:

The potato is in a ceramic bowl next to an apple on a wood table.” In this case, the red of the apple might bring to mind the flesh color of the potato… taste, texture soforth with degrees of abstract opposition.

The potato is in a quantum pool of particles going through entropy.” In this context, potato may no longer have a taste, or a (relatively) specific color, but an animated abstraction.

The actual potato – the landscape – is in a dialectical relationship with the maps of the potato. The actual potato is inseperable from the social, political, and natural activities of culture. It is intertwined in a dialectical relationship. The evaluative interpretations (maps) of the actual potato change along with the actual potato “underneath” the culturally emergent physical laws.

Some Material on Dialectics

February 2, 2009

Some material on Dialectics:

Robert Smithson, nonsite
nonsitecontained
“The side of a smooth green hill, torn by floods, may at first be properly called deformed, and on the same principle, though not with the same impression, as a gash on a living animal. When a rawness of such a gash in the ground is softened, and in part concealed and ornamented by the effects of time, and the progress of vegitation, deformity, by this usual process, is converted into picturesqueness; and this is the case with quarries, gravel pits, etc., which at first are deformities, and which in their most picturesque state, are often considered as such by a levelling improver.”

– Uvedale Price, Three Essays on the Picturesque, (1810)

“Burkes notion of “beautiful” and “sublime” functions as a thesis of smoothness, gentle curves, and delicacy of nature, and as an antithesis of terror, solitude, and vastness of nature, both of which are rooted in the real world, rather than a Hegelian Ideal… We cannot take a one-sided view of the landscape within this dialectic. A park can no longer be seen as a “thing-in-itself”, but rather as a process of ongoing relationships existing in a physical region – the park becomes a “thing-for-us”… dialectics of this type are a way of seeing things as a manifold of relations, not as isolated objects. Nature, for the dialectician is indifferent to any formal ideal… Olmsted’s parks exist before they are finished, which means in fact they are never finished; they remain carriers of the unexpected and of contradictions on all levels of human activity, be it social, political, or natural.”

– Robert Smithson, “Frederick Law Olmsted and the Dialectical Landscape”, (1973)

“Both sides [of the dialectic] are present and absent at the same time. The land, or ground is placed in the art, rather than the art placed on the ground… Large scale becomes small. Small scale becomes large. A point on a map extends to the size of a landmass. A landmass contracts to a point… The rules of this network of signs are discovered as you go along uncertain trails both mental and physical.

– Robert Smithson, “The Spiral Jetty”, (1972)

If cultural means, “social, political, or natural human activity” then I would say dialectics are the result of cultural relations with the landscape. The material landscape becomes mapped my the mental, as the landscapes shift from entropy to different mapped “states” (mobility) of Picturesque to deformed. The material shits in relation to the mental interpretative evaluations of it. The landscape is never finished, and our maps are never finished. The maps are continually revised in a dialectical relationship with the entropic lanscape. Human activity (culture) effects our evaluative and interpretive maps of the landscape. The development of the dialectic is an entropic phenomenon, both in the material and in our maps. They do converge as “a point on a map extends to the size of a landmass [, and] a landmass contracts to a point [on a map].”