Interior and Absence (notes on recent work)
[this is pretty funny - via nettime]
From: Alan Sondheim sondheim@panix.com
Date: August 16, 2006 11:47:27 AM EDT
To: nettime-l@bbs.thing.net
Subject:
Interior and Absence (notes on recent work)
In an attempt to explain my recent work… This is such an attempt, the attempt already referenced -
Every surrounding space is non-existent, that is, every embedding space
should be construed as invisible, unless vectored outside of the frame -
i.e. perspectival vanishing-points or obvious extensions of line
segments.
The invisible space is less than a frame, paregon, peripheral, only a demarcation necessary for the transmission of the central object or figure, or syzygy of connected nodes or interconnected figures. One must strip away space in this regard.
Likewise one must strip away time, in order to reassemble temporality;
what it takes to see or process is widely at variance, turned loose,
from
what is presented in the screen, this or that figure or figures.
Such figures descend from a series of asteroids I modeled, allowing one,
that is myself, to fly across their surfaces, as if polygons were
geological figures; it was the surround skeins, skins, that constituted
the measure of the infinite in the small, a form of perspectival
geometry.
The asteroids themselves have as antecedent certain works or
preparations
I constructed for scanning electron microscope imaging; these works were
either prepared natural specimens or etched figurations, sculptures
smaller than the wavelength of light, using a Cambridge Stereoscan which
did exactly that.
The concern or cathecting, investment, I have in the current objects,
and
their potential or real transformations, to the extent they can be
considered objects, is based on psychoanalytic and general vectoral
flows
across their surfaces - surfaces which may be penetrated or
interpenetra-
ted by vision, revealing the hollowed skein or scaffolding of model
building.
The objects, whether closed manifolds or not, I consider closed
manifolds
of projections and introjections, manifolds whose surfaces are inscribed
much like a cuneiform tablet, open to readings, not reading, and open to
interpretation. The reading is visceral.
The objects are not, nor are intended to be, portraits, nor do they
occupy
a branch or sub-branch of portraiture; they are not singularities in
space, but spaces themselves, whose anxieties triumph, whose psychoses
play like storms across their surfaces.
I inject my concerns into safe, part-objects, transitional objects,
half-
formed, maternal, wary in the construction of language, of languages,
wary
in the construction of difference, differance. Such objects reference
the
analogic from the digital, a digital which is embedded in the
analogic, in
the hermeneutics of analogic reading and inscribing. What may for
example
begin as dream or hypnagogic imagery, transforms within the pressure of
the machine, into those apparent fluidities which may be indefinitely
shaped. To shape meaning without the ostensible pressuring of language,
without the inscription of ostensible inscription - this is a goal,
meaning which, submerged, emerges, from less organized perception, which
may or may not be read as wonder in relation to the world or worlds.
Every
image a world, every world, an imaginary.
The scan permits the uneasy rupture/rapture among code and uncoding, real and irreality, image and imaginary; the rupture/rapture of the scan itself construes the fluid or abject at the heart of culture, universe, world. Every reading is our reading; every writing is our writing; every scan is ours and ours alone.
The motion capture permits the internal tearing, torsion, tension, tensor of the cohering body, always taken for granted, in order that death, violence, sexuality, language, and body re-emerge as dissipated punctum, within or without any circumscriptions.
The access grid echo constructions create and reproduce the flattening of space and thereby time that constitutes defuge, that state always generative by deferral of other states. A face resembles, reassembles, itself, and such contiguities or echoes are embedded as well into generating configurations that might as well not be there.
In all of these instances, the embedding spaces are the symbolic; are
the
chora; are ourselves to the extent that our senses devolve first and
primarily into the seepage of our own liquidities, bodies, sexes,
deaths,
ruptured and irreparable enunciations.
The symbolic surrounds the symbol, which is symbolic to the extent, or within, circumscription.
All inscription is circumscription.
Culture is the absence of embedding.
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