The question remains one of how exactly the hallucinatory activity of cognition relates to the black chaotic assemblages of elementary particles… Excerpts from Ben Woodard’s “Mad Speculation and Absolute Inhumanism: Lovecraft, Ligotti, and the Weirding of Philosophy” (2011): In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to […]
A Review of Spyros Papapetros’ ‘On the Animation of the Inorganic: Art, Architecture, and the Extension of Life’(University of Chicago Press: Chicago & London, 2012).
Paul Harrison (2019).
To what extent do humans have agency in the worlds they inhabit? What can we consider as animation? How far does life extend? These three questions are but an initial triangle shaped sample of the many questions nestled within the pages of Papapetros’ book. A book that encompasses a vast range of important aesthetic and historical interventions and explorations. Drawing on the work of some influential European art historians such as Aby Warburg, Wilhelm Worringer, Otto lehman, and Ernst Haeckel this book is one of a handful of critical studies of the fluid movements that have been considered as possible explanations for the movement that resides in matter we long considered to be dead. Such is that ingrained assumption inherited from ancient cultures that things that are visibly in motion are alive and that which is opposite isn’t. How then does this text undermine and usurp this assumption?
By taking these mostly conservative German sources and drawing a line from Warburg’s dissertation ‘Sandro Botticellis “Geburt der Venus” und ‘Frühling,’(1893) with its aims of exploring the animated status of the fabrics and clothing decorating the bodies of art on to Worringer’s Abstraction and Empathy (1919) putting forth how this historian saw an inorganic framework of the swirling motifs of the animal ornamentation of the Nordic and Celtic forms. Lehman, who was a crystallographer, coined the term ‘flüssige or fliessende Kristalle’ (liquid or flowing crystals) measuring the changes in expansion under heat and cold temperature. Finally, Haeckel also adds to this liquid crystalline section of the book, but he demands we consider the homophagy involved in the creation and merging of crystals: clearly pointing to, ‘how immobility can become pregnant with a new form of life’. This nod to cannibalism makes me think of how languages swallow other languages; and how some languages manage to resist such a process. German is encountered on every other page of the book because of its unique place in aesthetic thinking.
It is certainly true that next to this gratitude we should have for the book’s capacity to teach and remind the reader of the beauty of the German language; there is another unarguably special quality this book contains. Everyone understands that books are better when they have pictures in them and in this case you shall not be left disappointed. One example of such a visual delight comes from a cartoon in a political magazine called Simplicissimus (1919) the image is of an aggressive German expression of cubes attacking man; the German reads, ‘Die Kurve, die Grundform des Kapitalismus, ist überwunden. Die neue Beist bricht an. Dröhnend marschiert der kubus durch das Universum’ (“The curve, the primary form of capitalism, is overcome. The new day dawns. Threateningly, the cubes march through the universe.”). Other examples of visual events that are striking include a slide of a book, James Furgusson’s Tree and Serpent Worship (1868); on Asian culture and belief that supports a reverence for snakes and their mechanical cold blooded motion.
Next to this Ouroboros reminder we find a delightful reference to a French love of liquor found in the very first advertisements for the tire manufacture Michelin. One poster is titled with the Latin Nunc est Bibendum (“Now let us drink!”) we learn these posters carry a force from the painter Fernand Léger that moved from the ancient pneuma (soul/spirit) and towards a French pneumatique invested in the production of rubber tires; objects that remain just like the beings who invented them something capable of inhaling and exhaling air. Prior to this automotive turn there is the matter of how artists and philosophers such as Picasso and Emile Durkheim wrestled with that powerful form of nature the forest. But, as we soon find out this place of wonder is also a place of horror and so reflects the book’s line of inquiry as it shivers down its spine. Penultimately culminating in perhaps the most iconic transformation or animation in the history of Western art; the flight of Daphne from Apollo. The psychoanalyst Jacques Lacan thought of Daphne as an example of an architectural limit, a plane of identification that is beyond our reach, and so completes this texts invitation to reflect on the inorganic and its maddeningly marvellous movements.
Such illustrations allow a route into the aim of this book. By highlighting the human’s struggle against reality Papapetros also simultaneously highlights how the struggle itself lends form to an inhuman energy: an animation. One that is in need of special attention and although this book is nearly eight years old it has lost non of its power to enrich the minds of its readers.
Paul Harrison is a graduate of Sheffield Hallam University and KU Lueven University studying Art and Philosophy respectively. His work has always centred around understanding animation but is increasingly becoming interested in language. In the future there are plans to combine these things.
Seeking of the Path
Once there was a boy named Sudhana who also wished for Englightenment and earnestly sought the way. From a fisherman he learned the lore of the sea. From a doctor he learned compassion toward sick people in their suffering. From a wealthy man he learned that saving pennies was the secret of his fortune and thought how necessary it was to converse every trifling gained on the path to Enlightenment.
From a meditating monk he learned that the pure and peaceful mind had a miraculous power to purify and tranquillize other minds. Once he met a women of exceptional personality and was impressed by her benevolent spirit, and from her he learned a lesson that charity was the fruit of wisdom. Once he met an aged wanderer who told him that to reach a certain place he had to scale a mountain of swords and pass through a valley of fire. Thus Sudhana learned from his experiences that there was true teaching to be gained from everything he saw or heard.
He learned patience from a poor, crippled woman; he learned a lesson of simple happiness from watching children playing in the street; and from some gentle and humble people, who never thought of wanting anything that anybody else wanted, he learned the secret of living at peace with all the world.
He learned a lesson of harmony from watching the blending of the elements of incense, and a lesson of thanksgiving from the arrangement of flowers. One day, passing through a forest, he took a rest under a noble tree and noticed a tiny seedling growing nearby out of a fallen and decaying tree and it taught him a lesson of the uncertainty of life.
Sunlight by day and the twinkling stars by night constantly refreshed his spirit. Thus Sudhana profited by the experiences of his long journey.
Indeed, those who seek for Enlightenment must think of their minds as castles and decorate them. They must open wide the gates of their minds for Buddha, and respectfully and humbly invite Him to enter the in-most chamber, there to offer Him the fragrant incense of faith and the flowers of gratitude and gladness.
Avataṃsaka – sūtra.
Faisal Saeed Al Mutar of Ideas Beyond Borders on making more resources available in Arabic: “I had this belief about the importance of removing barriers. . . . The motto of our translation project is ‘making the inaccessible accessible.’”
I am sorry blog, I have been away for too long, but here is a post about some translations from Japanese into English. I am sharing it for other Japanese learners and for anyone with an interest in Buddhism and Kanji.
First up we have some letters I am sending to old students who I miss a great deal. I hope to see them all soon they where such nice people and I was lucky, I will always be lucky to have met them. The above Japanese translates as,’ Maki, Please give this to everyone. On the other side of this letter there is interesting English poetry. I am looking forward to the next time I am in Japan. Let us stay in touch. Paul’
The second is a map that my friend Yutaka wrote me… it describes a place of nature, a place near Tokyo which has a lot tress; a kind of forest. Yutaka is a fellow philosopher and I want to talk about co-authoring some texts with him in the future.
Thirdly, there is this bookmark, I took it from a flyer for an exhibition on Ink Painting and I love Sumie and Ukiyoe (Ink painting and Wood Block painting) I could spend all day every day looking at these Japanese art forms. 水墨の風, このブークマークは東京駅近くに出光美術館で展覧会からですね。
I saved the best to last, this year I will sit my first JLPT exam and then each year after I will sit another. My enthusiasm for this Asian language comes from a teacher I had a Yoko amongst other Yokos. Yoko is a translator of Taiwanese Buddhist texts for one of the biggest Buddhist temples in the world. This translation below is from a recently published book Learning the Spirit/Mind of Zen. Like all authentic Buddhist literature its beauty, power, and truth are constants.
The Translation into English Reads:
“Mutually helping each other.
A place where this happens becomes heaven.
Respecting the neighborhood together.
A place where this happens becomes a pure land.
Heaven is ones home.
The Pure Land is ones spirit”
Remove the weeds of the mind. And allow the seeds of merit to grow.
Thank you for reading. I will post a much larger and more extensive Japanese translation soon.
Interactivity and Animation: Recent Developments in Motion Design
Designing motion is a really interesting thing humans are both capable and incapable of doing it. Moving away from the idea that motion is the sign of life; from the unmoved mover (Aristotle’s god) to our daily experience of consuming oxygen and producing carbon dioxide we are capable of manipulating our directions and the forms which inform our motion. This is the purpose of this post to provide a brief insight into artists that are providing an opportunity to study and look at the space occupied by interactivity and animation. So, we may appreciate their presence and prescience. Studying and learning from their great examples together. […]
I went to art school with this mad South African animator. When we were studying at Sheffield Hallam University Mathew was interested in sound and experimented extensively with this medium; his degree show exhibition was a soundscape of considerable depth. I am not sure about other influences, but I am sure he may agree with me when I say that it was not only the awesome presence of Chris Cunningham, Warp records, and Aphex Twin that influenced Williamson’s progression. His extensive use of computers to create striking imagery surely must reference the machines which invite talented individuals like Mathew to express themselves to the best of their creative abilities. There was a particular moment that I realised Mathew’s work had taken a leap up to the next level when he made an animation installation for Sheffield’s festival of mind. This Installation was projection mapped onto a curved surface and although I was not there to see this in person the image of it struck me as a moment where Matt realised the full extent of his digital potentials. Since then he has been busy living up to that potentiality recently completing work for the newest series of Doctor Who. Below, are screen shots of said Dr.Who work and other visuals stolen from his instagram you should follow him @mattwilliamsonav. You should also tune into his streaming channel and get zapped by the current. https://m.twitch.tv/mattwilliamson
Another resident from that urban urspring of English creativity called Sheffield. Universal Everything is the baby of a certain Matt Pyke. Completing his education in Portsmouth and London he is arguably director of the most prominent and innovative team of motion designers currently swimming around the multi-verse. For a good idea of this creative characters background and person read an interview with him here >>>. Of course you should have already visited their awesome website and gawped at the magic they have drawn into existence. Below, are a few of my favorite examples of this everything which would be universal. The name is evocative and shoves the problematic presence of animation right to the edge of your eye. I will ignore the interpretation or perspective of this studio’s name that is suggestive of an easy relation to capital, ‘if everything is universal, including ourselves, then we can do everything’ – nothing is out of bounds and of course in this case although they cultivate commercial relationships with the worlds biggest companies and therefore supportive of monetary ideology; as long as we are gifted such visual wonders then perhaps we may ignore the hidden flux of finance that powers such innovations. No, not ignore, just be grateful that this group of creators are creating with such ferocity. Also, it is very much a group and this collaborative part is important: Universal Everything could be a precedent for what creatives or human creativity should achieve in the expected third industrial revolution where social networks merge with new technological spaces to produce an entirely new economy.
I really love all their images but the moving images that feature and ask the question about the relation between the organic and machine are mesmerizing. Tribes makes me think of the Anthropocene and the vast size and difficulty of providing an image that is truly applicable to all humans and their behaviour. For the next few years I hope to study language and animation so the work OFFF, a series of hybrid typographic-architecture prototypes is well lodged in my memory and has an immediate association and affinity with the architectural practice of Eniatype.
A Japanese sound artist who is completely subdued and is continuously seducing with his mathematically inspired work. Ikeda’s work is very Japanese and he has earned his reputation through a unique blending of number and minimal components of sound. Sine waves, bass, sub bass, pitch, blips, high hats, samples, white noise, sets, sub-sets, dots, dashes, equivalences, riddims, horns, digits, bits, and much more could be wielded by this great Asian alchemist. Sound is interesting because of its ontological diversity it exists but so ephemerally and this trace like structure makes us think of the quantum physics that suggests waves comprise the inner workings of physical matter. But, this idea from physics does not portray the whole story with the exact standards of science and therefore Ikeda’s work achieves something remarkable and transforms or should I say animates the physical innards of sound into images. Doing so in such a natural way that his installations often seem to be revealing the workings of the contemporary technology driving the processes that have exploded and will explode even more in the coming decades. I am suggesting that Ikeda-san has really dug deep into sounds unique matter and discovered its affinity with math. I like his work because it has that Japanese aesthetic that we all love and it makes me think of the dynamism and dualism of theories that originate in the original attempts to ground/ discover the source of mathematics. I understand that in the history of this kind of thinking there are two Set theory, and Mereology. The first discusses and determines collections of objects and the extent to which number supports said collections, the second is the study of parts and wholes, and I think that Ikeda’s art invites much more inquiry into these matters. Please enjoy these samples of his work below.
Are Team Lab Japan’s answer to Universal Everything? I do not think so they are a team of creatives equally matched to deliver moments of animated audacity. Only team lab seems much more concerned with reproducing nature as we experience it naturally and I think this is a running theme throughout their work – after all they are Japanese. Japans relationship with wave forms is well documented from the Hokusai’s ‘Giant Wave’ 神奈川沖浪裏 Kanagawa-oki nami ura and through Asia’s dominant traditional writing style. The calligraphic strokes of Black ink seem to effortlessly harness the force of liquid lines. What I find most interesting about Team Lab is and other creative entities like them is their commitment to shared processes of creativity. In their video works interactivity is blended with floor to ceiling projections to provide an immersive experience. Some of their installations follow the cultural practice of wrapping; the Japanese delight in the representation of things so a precious yet transient equality is maintained. With both the representation and its content bask in the shared ease at which they are transmitted to a perpetually increasing fan base. Here it is necessary to pay Team Lab a great compliment in their own language. Their art is a quintessential visual practice in which they provide memories as a Furoshiki風呂敷 (Thanking present) or as a continuation of Giri 義理 (Gift giving). So I compel you to enjoy these Japanese gift givers. The work below is from the groups exhibition in California, Continuous Life and Death – enjoy
An American artist widely acknowledged as an influential contributor to the new artistic domains of the 21st century. Roth can be easily seen as a front runner and already a great influence on artists seeking to use technology in there work. Roth is also a co-founder of the awesome Graffitti Research Lab, and the Free Art and Technology Lab both influential groups expanding into new spaces and potentialities of visual networked communication. The recent aesthetic of his work is very bloody I like the red of these works: Internet Landscapes (2016), a body of work that explores the artists experience of traveling Sweden searching for the physicality of the Internet. The press release from collect the WWWorld. Exhibition (2011) describes this newish realm of creativity,’to demonstrate how the Internet generation is implementing and developing a practice started in the Sixties by Conceptual Art, and further developed in subsequent decades in the forms of Appropriation Art and post-production: the practice of exploring, collecting, archiving, manipulating and reusing huge amounts of visual material produced by popular culture and advertising.’ really simplifies the climate of the last 8 years. Roth in many ways is a fine example of a creator who is well positioned to make good use of the new technologies such as quantum computing and developments in the internet as it grows and changes.
Rose Butler primarily works in moving image and video and is a very respected teacher and researcher (again in that beautiful place called Sheffield). A handful of her work makes use of interactivity where the observers of her work are considered as active components. The first example being Butler’s collaboration and commission for FACT in the UK. This work was perhaps the first time this artist worked with the concept of surveillance; in this case pedestrians and members of the public were recorded going about their daily business and often shocked to see themselves on the big screen. An art installation that simultaneously explores the bigness of screens and how we are now watched and/or watching? Other works and exhibitions that include interaction are Stall, Barnsley (2005) featuring a reproduction of a market stall and then an interactive animation in which due to a loop in the recording participants can re-visit their initial visit to the market therefore offering a commentary and experience on the changing economic structure of markets. Again click on Rose’s Hashtagged name to see more of her work.
一番… もし、大声と話したら皆さんがその声を聞こえます。/ 私は大声と話します。/ 皆さんが聞こえます。
二番…もし、野球のゲームをやるので勝ちます。/. 勝ちませんから。/ 野球のゲームをやりません。
3. 加減的三段階論法 (かげんてきさんだんろんぽう)
もし、嬉しいですからパティーをしま す。/ もし、お天気がいいのでパティーをします。
4. 宣言的三段階論法 (せんげんてきさんだんろんぽう)
四番… 高さか安さ / 高くないので / 安いです。
5. 建設的な窮地 (けんせつてきなきゅうち)
五番… (もし、グダグダので寝ります。)と(もし、ぴんぴん(元気)ので起きます。) / グダグダか元気 / 寝るか起きる。
6. 同化 (どうか)
六番…もし、惨めなことは友達と時間を過ごしています。/ もし惨めなことは惨めなことは/ 惨めな事と友達を過ごしています。
7. 単純化 (たんじゅんか)
七番…赤と緑 / 赤です。
8. 接続詞 (せつぞくし)
八番…青 / 青と黄色いです。
9. 足し算(たしざん) / 加法 (かぼう)
九番…石 / 石か木
十番… 〜(愛と嫌う) <> (〜愛か〜嫌う)
11. 関連付け (かんれんづけ)
十一番… (買うと売る) <> (売ると買う)
12. 結合し (けつごうし)
13. 配布(ハイフ)/分布 ( ブンプ)
十四番…無 <> 〜〜無
十五番…(笑うー>微笑) <> (〜微笑ー>〜笑う)
16. 含意 (がんい(する)) / 内含(ないがん(する))
十七番…(秋<->春) <-> (秋->春)と(春->秋)か(秋と春)か(春と秋)
十八番… [(飛ぶと乗る)->座る] <-> [飛ぶ-> (乗る->座る)]
[This writing is a review of Logic. Recently, the content of the former university I want to remember in the far and near future so I can use. Everyone on the internet, maybe this post is useful I think. Of course, if you have an opinion that logic is interesting. この文章たちは論理の復習します。最近、前の大学の事は覚えたいですから未来と将来また使えますね。インターネットの皆さんは多分このプォストを便利と思います。勿論、もし倫理を面白さの意見だたらねー]