You are here:-Assignments

Primal Scene: Curriculum

Mystory Curriculum. Mystory may be hermeneutic as well as heuretic, that is, it may be used to organize the curriculum, as part of a transition from literacy to electracy. It is persuasive in any case to find the image of wide scope as a structural principle operating in the arts. Examples of works across media manifesting wide images are assigned in a DH curriculum as exemplars and relays guiding egents in the design of their own wide images.

–Blade Runner 2049. A recent example is the Blade Runner sequel, the organizing role played by childhood memories in simulating human identity for replicants. The sequel narrative is motivated by the protagonist’s investigation of the memory of a carved wooden horse. This motif alludes formally and intertextually to the Orson Welles film, Citizen Kane-– the simulated documentary investigation into the enigma of Kane’s identity, his deathbed statement, “Rosebud.” The audience learns that “Rosebud” is the name of Kane’s sled, metonym of his childhood happiness. A konsult curriculum studies these works at several levels, to understand the relationship of lived experience to formal design.

–Intertext. The seminar reads or screens the works mentioned here, analyzing how early memories function in both formal and thematic terms. Citizen Kane, often cited as the best American film ever made, is structured around a journalist’s attempt to solve the mystery of the dying Kane’s last word, “Rosebud.” The audience learns in the final scene that “Rosebud” is the name of Kane’s childhood sled, emblematic of his moment of happiness, in the genre of Proust’s madeleine, whose taste triggered a recollection of happiness whose source it was the goal of the novel to discover. The carved horse, the sled, are vehicles whose tenor the fictional works dramatize, to form hypothetical wide images.

–Murakami. Another example is 1Q84, by Haruki Murakami, one of whose characters (Tengo) is driven by an early childhood memory. “Murakami’s other protagonist, a writer and math tutor named Tengo, begins 1Q84 in something of an epileptic fit. These attacks strike regularly, we learn (and come to witness), triggered by the bubbling up to consciousness of Tengo’s first memory, witnessed from the crib: ‘His mother had taken off her blouse and dropped the shoulder strap of her white slip to let a man who was not his father suck on her breasts.’ Duly unrepressed, the memory paralyzes his limbs, cuts off his breathing, and occasions the novel’s single most eyebrow-raising sentence: ‘The tsunami’s liquid wall swallowed him whole.'”

–Leonardo da Vinci. Sigmund Freud’s biographical study of Leonardo featured the one early memory Leonardo recorded in his journals. “It seems that it had been destined before that I should occupy myself so thoroughly with the vulture, for it comes to my mind as a very early memory, when I was still in the cradle, a vulture came down to me, he opened my mouth with his tail and struck me a few times with his tail against my lips.” We will return to these examples later. The point for now is just to note childhood early memories as an important motif in literature, cinema, philosophy, as resource for our heuretic curriculum. Such works are assigned, discussed, interpreted, for their own sake, but also as relays, poetics for design of egent wide images.

2018-08-14T01:14:40+00:00 August 13th, 2018|Categories: Assignments, Curriculum, Memory, Mystory, Wide Image|Tags: , |

TPE: Emblem, Wabi Sabi 2

–Tenor (Themata): Catechism. The image on the left is the emblem Ulmer generated from his mystory, leading to design of his wide image in Noon Star. The formal rules from Koren’s relay generates theopraxesis by requiring that the answer to the catechism questions must be derived from one of the popcycle stories, each story used once only. The three capabilities are expressed in Wabi-Sabi by three M’s (resonating with the H’MMM disciplines): Metaphysics (Theoria); Morality (Praxis); Mood (Poiesis). Egents ask themselves:

1) which of the popcycle stories, received as a fable (parable), expresses their understanding of how the world works, the character of reality. The Japanese tradition answers, “Things are either devolving toward, or evolving from, nothingness.” For Ulmer, the Family story of the botched piano recital, the red star (not gold or silver) on the sheet music, is a parable of a reality in which one is continuously judged in endless competitions.  His epigram describes that condition.

2) Morality (Spiritual Values): which popcyle story is a fable of how one must act, given the character of reality? Wabi-Sabi proposes to get rid of what is unnecessary, ignore material hierarchy. For Ulmer, Custer’s foolish ambition serves as a negative example, a fable warning against Custer’s desire for glory. Ulmer’s motto expresses his lesson: Where are your Reservations?

3) The third question is Mood: given the necessity to act in that way, in a world of that character, how do I feel? Wabi-Sabi advises acceptance of the inevitable and appreciation of the cosmic order. Ulmer found his state of mind expressed in High Noon as a fable of duty: despite his contempt for the hypocritical community, the sheriff fought the gang of killers, after which he threw away the tin star. This gesture of discarding the badge of status determined the tin star as the icon of the emblem. In practice it is best to decide which popcycle story supplies the picture, and which question of the catechism that story answers, and the rest of the emblem follows from there.

The wide image has no innate form, and  is not confined to emblem poetics. It is inchoate, accessed intuitively, acquired during the early years of embodied visceral education. It may take many forms and manifest itself within the creative production of an egent. The heuretic frame of electrate pedagogy moves egents through the transition from a condition of privation, Steresis, impotence, potentiality of capability (Dunamis, Virtuality) into Energeia, Actualization, raising consciousness of their positioning and disposition relative to the archive of world culture recording in infinite variation the unfolding of the work of realization of life and death. Konsult is equipment for living (Kenneth Burke), thus, empowering in principle the egent with the resources of civilization available for a fatal encounter with disaster.

2018-07-30T01:53:14+00:00 July 30th, 2018|Categories: Assignments, Capability, EPS, Mystory, Popcycle, Theopraxesis, Wide Image|Tags: , , , |

TPE: Emblem, Wabi-Sabi

The Expanded Image. Hypermedia students composed an image of wide scope in four steps, extended over a semester: 1) Family Memory, read John Briggs, Fire in the Crucible, on the wide image; 2) Entertainment narrative, read Zinsser, Worlds of Childhood; 3) Community History, read Momaday, Rainy Mountain; 4) Emblem, read Leonard Koren, Wabi-Sabi: for Artists, Designers, Poets & Philosophers. Japanese enjoys a rich vocabulary of aesthetic terms, with Wabi-Sabi one of the most important. Introducing this book to students (which they invariably liked), I asserted that it was the best single book on the poetics of “image” that I had ever read. There were certain books I introduced with some fanfare, using hyperbole as a substitute for experience, to overcome the insecurity of thinking that while Koren’s book was good, there must be other books that were better somewhere else. University of Florida is rated as a “good bargain,” since it has one of the lowest tuitions of any AAU school: $6500 a year. My introduction claimed that this book was as true at UF for $6500 as it was true at Stanford for $45,000. Helen Cixous’s Three Steps on the Ladder of Writing, I continued, is true for $6500. At Stanford for $45,000 there is no fourth step. Similarly Calvino’s Six Memos for the Next Millennium, still lacks the sixth memo (the lecture series one short at Calvino’s death) at Stanford, as it is at UF. The motivation for the hyperbole and performative framing was part of introducing students to theopraxesis, the three capabilities received from Avatar, that Koren made explicit in his exposition of Japanese traditional culture and aesthetics.

–How an Image becomes Wide. Koren demonstrates how a detail of the world is selected as a vehicle for a poetic image: for example, a worn shingle on an old hut, with a streak of rust descending from an iron nail. The tenor (theme) of this vehicle is coded in Japanese traditional culture, relative to the wisdom metaphysics of Buddhism, to express an existential insight into time and entropy known as wabi-sabi.  “Wabi-Sabi can be called a ‘comprehensive’ aesthetic system. Its world view, or universe, is self-referential. It provides an integrated approach to the ultimate nature of existence (metaphysics), sacred knowledge (spirituality), emotional well-being (state of mind), behavior (morality), and the look and feel of things (materiality)” (Koren, 41). The instruction was not to seek Wabi-Sabi in one’s own experience, but the equivalent, the mood and atmosphere, to find one’s personal version of what was modeled in Japanese tradition. The folk traditions of Blues into Jazz in global Creole syncretism (mufarse into tango, saudade into samba) is central to the thymotic and erotic dimension of world materialized in digital electracy. Koren’s analysis demonstrates how to expand the two-part vehicle and tenor of image into a six-part inventory. Students generated their emblems productive of wide image by answer six questions posed by Koren: three for vehicle; three for tenor. The three questions addressing tenor (themata) are the same three articulated in the catechism of modernism, directing theopraxesis. One implication, to be developed further, is that the system of capabilities is not confined to the Western Tradition, but functions globally across cultures and civilizations.

–Poetics: Image expanded into Emblem. The expanded image consists of two registers: material; metaphysical. Working with the narratives generated in composition of mystory, students must commit to one pedagogical object (magic tool), some detail found in at least one of the diegesis of the popcycle, to serve as logo or brand icon for the wide image. In Ulmer’s case (Noon Star), the repeating detail (like the dogs repeating in Momaday’s section III) was a five-pointed star: Family memory (the red star on his sheet music of the march, Garry Owen; Entertainment mythology (the film High Noon, Gary Cooper as Will Kane, discarding his sheriff’s star in the dirt after the gun fight); Community history (“General” Custer’s badge of rank, and Indian name, Son of the Morning Star). The three material questions are: 1) what is the prop/ icon? Ulmer chose the tin star sheriff’s badge to represent this materiality. 2) What are its attributes? (what mood or atmosphere is expressed that distinguishes this icon from its archetype, configuring it specifically for me. The context of High Noon star thrown in the dirt expresses rejection and disgust with the  hypocritical authority symbolized in the badge. 3) Archetype: what is the conventional meaning associated with this icon in the archive? (the five-pointed star has an extensive presence throughout many cultures).

2018-07-30T00:51:55+00:00 July 30th, 2018|Categories: Assignments, Device, Theopraxesis, Tutorials, Wide Image|Tags: , , |

TPE: Emblem 3, Readymade

Readymade: Found Emblems. Modernist experimental vanguard arts invented the operating practices (logic) of electracy– collage montage, cut and paste, creating meaning through appropriation and arrangements drawn from the archive of popular and commercial media circulating ubiquitously in the recording technologies invented as part of the industrial revolution. Konsult extends this formal practice (Dadaism, bachelor machine) into education and pedagogy. Egents designing wide images may learn from the likes of Marcel Duchamp how to author and design with image apps.

–Fable: What resources are available for inquiry and expression in the conditions after Nietzsche, the history of an error, after the simultaneous withdrawal of the true world and the apparent world along with  it?  The time is noon (the  shortest shadow).  What remains is fable, Nietzsche said.  What are the possibilities of fable as genre?  Duchamp improvised one approach, perhaps not even yet fully appreciated. His Readymades are fables, albeit weak (faible) fables, in that they provide the illustrations only (the emblems, impresas).  He intimated his variation on the mode with his most notorious instance, whose title “Fountain” translates “La Fontaine,” antonomasia between common and proper noun, evoking the name of the author of many fables in the common “fountain,” itself a euphemistic title for a urinal.  Ulmer’s collage of the urinal with a cover of La Fontaine’s book make the joke explicit. Duchamp’s commitment to the punning bachelor machine logic central to modernism is well known.  He acknowledged his attendance at a performance of a stage adaptation of Raymond Roussel’s 1910 novel Impressions of Africa as a turning point in his career (Roussel’s method of composition used generative puns).  It has been suggested that some of the Readymades at least are comments on dreams described in Freud’s Interpretation of Dreams, hence that they use rebus methods (visualizations evoking words).  Freud noted, for example, that many dreams are triggered when sleepers experience the need to urinate (the dream allows sleep to continue briefly). The text of the fabled fountain is provided by its history, being as it is the most influential (if not the “best”) art work of the twentieth century, including its status as a prank, and all the manipulations Duchamp performed to put the image of La Fontaine into circulation, recorded in Thierry De Duve’s Kant After Duchamp.  What is the moral of the readymade fable?


–Martin Kippenberger, “Rameau’s Nephew,” 1988

A few minor changes and some careful wallpapering are quite enough to lend a mundane and utilitarian item a touch of sophisticated polish or at least a bit of homely comfort. The result of these efforts arouses ambivalent feelings of embarrassment and admiration. The beautiful wallpaper heightens the esthetic ineptitude of the box to the point of unbearable bleakness and yet a conciliatory glow seems to emanate from the depths of its decoratively enhanced ineptitude. The man in the wallpaper obviously has no such ambivalent qualms; he only wants to to eat (his noodles?) in peace. Perhaps he mirrors the imperturbability that Martin Kippenberger highlights in his art as a means of reconciling us with the ubiquity of embarrassing banality.

According to literary history, Rameau’s nephew was a Bohemian without character but not without talent, who was plunged into misery upon the death of his wife and children. Diderot’s novel of the same name depicts him as a cynical parasite and a brilliant failure, in short, a paradoxical protagonist beyond good and evil.

Patrick Frey, “Whereof one cannot speak, thereof one should not be silent,” in Parkett. 19 (1989). Observe in Kippenberger’s example the enigma created in what he called the interval–the art of Readymade composition is to create an interval between a title (functioning as motto) and an image or object; in this case between the evocative “Rameau’s Nephew,” and a packing box lined with wall paper. The instruction from the artists is not “look how beautiful,” but “everyone an artist” (literally the motto of Joseph Beuys).

2018-07-29T18:58:12+00:00 July 29th, 2018|Categories: Assignments, Device, Terms, Theopraxesis, Tutorials|Tags: , , , , , , |

MYSTORY: Maurice Sendak

Maurice Sendak is best known for his Caldecott Medal winning illustrated children’s book, Where the Wild Things Are (1963), made into a film by Spike Jonze. Given the importance of childhood experience and how it is remembered to the Wide Image, Ulmer often included in the Hypermedia course a book of short essays by authors of children’s books on the art and craft of writing for children: Worlds of Childhood, edited by William Zinsser. (1998). Sendak’s essay, “Visitors from My Boyhood,” is organized as a mystory, addressing each of the popcycle slots in order to explain the source of his poetics, which suggests there is something intuitive or inherent in the popcycle as a matrix of imagination. Two other features recommending Sendak’s craft as relay for an Exercise is that his stories were rarely more than 300 words (the length of one micro fiction, the narrative  building-block of mystory documentation), and the drawings did not merely illustrate the words but developed the diegesis of the world in their own terms. Students used Sendak’s essay as a relay: making an inventory of his popcycle; extracting a template of examples for each slot; finding equivalents in their own experience.

–Family (Personal): Composition of mystory usually begins with a memory from early childhood, life with the family. Up to three such memories are allowed, to avoid getting stuck deciding on one that is most important (that dilemma if it arises is resolved when the remaining slots are filled, following the rule what resembles assembles). Sendak proposed two memories: the first was one of his earliest, an encounter with one of the pedagogical objects Pasolini mentioned, a book his older sister received from her book club. The book was very thick with a hardcover of pale green with gold lettering. Although not yet able to read, Sendak was fascinated with the book and demanded to have it, creating so much commotion the parents made his sister give it to him. When he finally returned it to his sister it was in bad shape, including suffering from being licked all over.

–Entertainment (Mythology): The popcycle premise is that identity is configured through identifications with people, places, and things during formative years: just as one has a capacity (potentiality) for language in general, with one’s native language depending on the chance of birth; similarly one has a capacity for imagination, and one’s native imagination (wide image) is formed within uniquely particular circumstances (visceral learning). A shortcut to determine which identifications took is just introspection: what remains in memory? Writer’s are good relay resources modeling these shaping identifications of which they necessarily become aware in learning their craft. For Sendak the memory was of The Wizard of Oz, and one scene in particular that he said “stole into my life in 1939 and has been flooding my work continually ever since.”

I was eleven when I saw the movie, and I remember it vividly because of how intensely in frightened me. The moment I am talking about is the one when Dorothy is trapped by the Wicked Witch of the West, and the witch takes an hourglass and turns it over and says something horrible like, “When the sand runs out, you’re dead, honey.” Judy Garland is left alone in the room, and one of her best moments ever was her way of saying, “I’m frightened,” and then, as though that realization has just actually dawned on her, says it a second time, “I’m frightened.” I still remember how her hand went to her head–the way she had of fluttering her hand, her desperation was so convincing. There was no way out of that room, nothing she could do. And suddenly, in the witch’s crystal ball, she sees her Auntie Em, back in Kansas, standing in the yard and calling to her. And she rushes to the crystal ball, and stands over it and screams, “Auntie Em! Here I am!”

–Community (History). Family and Entertainment memories are personal and convincing because they “belong to me.” The assumption of the History slot in the popcycle is that identity is formed within a social habitus, which is a major source of education (interpellation) received uncritically and internalized. To access this level of distracted education students first must decide with which Community they identify. Not everyone grows up in a home town. Community could also be an ethnic group, religion, race, military branch, nation. Whichever Community chosen, the story told must be one the Community tells about itself (what the Community remembers). Many students actually knew very little about their communities, so that some research was required. A shortcut was just to recall street names, festivals, memorials, school names and the like, to make a short-list. At that point some personal connection may help the selection. Sendak’s relay is somewhat awry, in that he did have a strong emotional association with his History event (as did James Joyce with the history of Parnell). The particular contribution of the History story is register a Value important to the Community. The Event documented by Sendak was the story of the Lindbergh baby.

The major event of my childhood was the kidnapping of the Lindbergh baby in 1932. That nightmare was probably the origin of my conviction that children can’t be shielded from frightening truths. Although I was only three, I remember intensely the details of the Lindbergh case. Lindbergh was our Prince Charles, and his wife was our Princess Di. I particularly remember a newspaper that had the front-page headline LINDBERGH BABY FOUND DEAD and a photograph of a scene in the woods with a black arrow pointing to something awful. I’ve since learned that Colonel Lindbergh threatened to sue if the New York Daily News didn’t have the morning edition pulled off the newsstands, so I guess not many people saw the  picture.  But I saw the picture.

The first phase of composition is to document each of these scenes (in your own popcycle): use micro fiction form, three micros (900 words) for each register, focusing on the diegesis of the event. The goal is to capture and annotate details of the scene, since wide images emerge in patterns of repeating signifiers.

2018-07-26T21:54:27+00:00 July 26th, 2018|Categories: Assignments, Design, Mystory, Popcycle, Tutorials, Wide Image|Tags: |

Gest 3 (Family)

Family gesture: Nancy Kitchel provides a relay for how to locate mood or atmosphere in a local and family setting.

“Covering My Face: My Grandmother’s Gestures,” 1973 

How a particular Midwestern storytelling tradition resembles the landscape. How my aunt or my mother can tell a story in such a way that the peaks (of violence) are cut off and the low points are filled up (with details, with emphasis), until the whole is perfectly flat and contains the violence.

This family gesture may be linked with the iconic gestures found in religious art and contemporary entertainment media.

Gestures and Icons. Migrant Mother, Nipomo, California, Dorothea Lange, 1936

Nancy Kitchel’s “grandmother’s gesture” may be seen as a series of variations on a gesture of worry and anxiety codified in this photograph taken by Dorothea Lange as part of a New Deal project to document the misery of migrant workers, sponsored by the Farm Security Administration during the Great Depression. “Migrant Mother” is one of the most-cited pictorial images of our times.

A repetition of gestures of this sort opens a conductive inference path between (in this case) Family and History. If Kitchel were doing our assignment this gesture would justify a search in documentation of “the Great Depression” to find a metaphor to express the mood of her Family circumstances.

–Landscape Gest (Outer Scene = State of Mind). Kitchel provides another example of Existential Disaster (cosmic glimpse), inclulding visionary Whiteness.

“Last White (Interior Landscape)”, 1975

This idea I have that the whole inside of my head resembles this landscape (flat? nothing there?), that the particular, peculiar sense of great space, isolation in space, harshness, clarity, severity, the constant transitions, shifts, reveries, the wild swings form one state to another, forms the visual, auditory, reasoning, base for thought or action. A sense that I have been formed out of the quality of the landscape, that everything unnecessary is being slowly eroded by harsher elements. And the confidence that I will survive, denuded, or that something will survive, something will never stop.” 

Nancy Wilson Kitchel, “Visible and Invisible” Individuals: Post-Movement Art in America
Ed. Alan Sondheim

2018-07-25T21:52:55+00:00 July 25th, 2018|Categories: Assignments, Design, Device, EPS, Memory, Photography, Tutorials, Visceral|Tags: , |

Assignment: Avatar Emergency 3

  Situation.What does it mean to approach Everyday Life with an aesthetic attitude? There is nothing novel about framing one’s quotidian roles in some state of mind — wisdom, science, religion. As practice, the aesthetic attitude is included within a situation, adding to the intentionality of some project the distance that generates aura of signification.  “Situation” is a guideword, evoking the existentialist point that circumstances become a situation when considered from the point of view of one’s “project,” the goals of a practice, encountering a scene not indifferently but according to its affordances for some purpose.  In a Visit (for konsult) this project or purpose is given an aesthetic frame.

Ulmer’s Visit documented in Chapter 13 (Wisdom) of Avatar Emergency offers a relay for our instructions.  What is Ulmer’s situation:

  • Family:  Mother’s Day holiday, with three generations of relatives sharing a rented house.
  • Work: Ulmer continues to ponder the perplexities of a theoretical question (the image metaphysics of electracy: the diadoch Damascius).
  • Memory: A formative experience in Ulmer’s past — a night in an olive orchard in Spain, 1966.
  • Current Events:  History of the present unfolding in daily reports and analysis of the raid that killed Osama bin Laden.
  • Site: Place, Ponte Vedra Beach on the Atlantic coast of Florida.
  • Form:  The Aesthetic Attitude includes familiar forms and genres, constituting a mythology: popular culture for laymen, but for Ulmer (academic) the forms are high art (Titian’s Allegory of Prudence,Kafka’s aphorisms).

A relevant context to Visit as the construction of an epiphany is the common experience in the history of creative insight of the Eureka moment appearing during some ordinary activity:  Archimedes in his bath; Poincaré stepping off a bus.  In Ulmer’s relay, adopting the Aesthetic Attitude means that he consciously scans his setting for some feature he recognizes as an objective correlative for his state of mind, registering the Mood or atmosphere attuning as vehicle and tenor (outer and inner) dimensions of his life world.  The feature he recognizes, promoting it to object @, is the sand castle built by his granddaughter the previous evening.

2018-07-25T00:15:37+00:00 July 25th, 2018|Categories: Assignments, EPS|Tags: , , |

Assignment: Avatar Emergency 2

The function of heuretics is to create a discourse on method:  The method you need has to be generated even while you are applying it.  Blogs are a good support for this generative practice, since they enable a developmental unfolding.  A project experiment is set (the design of konsult for EmerAgency catalysis of public policy dilemmas), a set of resources are chosen as generators, assigned to slots in the CATTt, and each resource is inventoried in turn, in a sequence from which emerges an intertext, to be synthesized and integrated into a working recipe.  Blogs document this process, inventorying each resource as it is encountered, itemizing instructions from the operating features of the resource, testing them in part, while moving through the sequence, integrating instructions for further testing.  The result is both a commentary on and demonstration of the desired poetics.

What are the operating features available in the CATTt for the seminar?
Theory:  Avatar Emergency

  • Rationale:  “Prudence” as a “time virtue,” good judgment integrating experience of past and present for a decision promising optimal outcomes in the future.  Prudence must be updated for electrate conditions of dromosphere.
  • Relay (Model):  Titian, Allegory of Prudence — the artist’s decision resolving a family dilemma, celebrated in a painting associating each relevant person with an animal selected from an iconographic tradition.
  • Encounter:  Titian updated by Francesco Clemente for a museum exhibit of artists’s appropriations of famous works from the archive (collection).  This update opens up the original relay to further invention.
  • Epiphany:  Poetics of sudden thought (encounters between microcosm/macrocosm) established in both religious and secular versions, codified in modernist poetry as correspondences, objective correlative and the like. Some ordinary feature of quotidian circumstances (external setting) triggers (catalyzes) a feeling of recognition, of identity, as a figure (tenor) of Mood (Stimmung, Heidegger).
  • Memory:  Catalysis (outside environment triggering inside recognition) happens through memory:  some past Moment of experience, enduring in subconscious memory, matches some sensory aspect of the present situation. Ulmer reflects upon the formative events of his year studying in Spain, including enduring memories of a night sleeping outside with a companion in an olive orchard, as well as his adoption of the diaries of Franz Kafka as a tutor author for his own journals that year.
  • Event:  Ulmer constructs an allegory through reflection on family vacations, situations in which the family travels to Florence Italy, Key West Florida, and Ponte Vedra Beach.
  • Image/Pastiche:  the allegory is formalized in a collection of three snapshots (White-crowned pigeon, Gelato sign, sand castle) associated with three members of the family) plus anecdotes about the events associated with each image.  In addition, Ulmer composes a pastiche of an aphorism selected from Kafka’s Blue Octavo Notebooks, offered as “motto” for the allegory, using Kafka’s form and style to express a philosophical version of the commemorated judgment.
  • Ubimage:  it may be worth putting a point on this outline:  konsult is designed specifically as an electrate contribution to the technics of ubiquitous-pervasive computing.

The further step of using the CATTt is to extrapolate from these operating features, to adopt them as forms only, substituting one’s own materials suggested by the relay, to test an allegory of prudence (aesthetic judgment) drawing on equivalents of the features found in the source Theory.

The related point is that the exercise defined in AE is not left as is, but is modified by intertextual synthesis with subsequent resources:  Contrast (Universal Experience) and tale (Once).  Universal Experience develops the setting of the encounter as within the institution of tourism (the community already has an aesthetic structure for the gaze or collective attention –attraction).  Once (Wenders) as tale specifies how to represent the allegory in photography and anecdotes, including Einstellung as an extension of epiphany into photography.

2018-07-24T23:54:13+00:00 July 24th, 2018|Categories: Assignments|Tags: |