Wide Image: Diagram

Wide Image into Diagram. The next step after using the emblem catechism to generate wide image is to begin translation into diagrams, extracting patterns from the intervals and relationships emerging within the matrix. Composing my first mystory in the mid-1980s, “Derrida at the Little Bighorn,” I discovered a match between Family and Career that produced an epiphany I have developed ever since. One of my first jobs when I worked at the plant was to clean the grids of the screens used to grade the gravel into sizes. Eventually the screens plugged up with stones and I had to knock them loose with a hammer. The pea-gravel screen could be cleaned by running the tip of a large screwdriver along the meshed grids, which produced an almost musical sound. This was the actual “gravel plant.” The washer with its three grades of screen, one on top of the other, was fed by a conveyor belt carrying the pit gravel from the quarry, and fed in turn three piles of sized rock, with the sand coming out the bottom. The whole contraption made a terrible noise and shook violently. I realized years later, reading Plato’s Timaeus after Derrida, that this gravel washer was a good metaphor or model for the operation of chora, sorting chaos into Earth, Air, Fire, Water.

–Plato, Timaeus, 52D-53A (Chora).

“My verdict is that being and space and generation, these three, existed in their three ways before the heaven, and that the nurse of generation, moistened by water and inflamed by fire, and receiving the forms of earth and air, and experiencing all the affections which accompany these, presented a strange variety of appearances. and being full of powers which were neither similar nor equally balanced, was never in any part in a state of equipoise, but swaying unevenly hither and thither, was shaken by them, and by its motion again shook them, and the elements when moved were separated and carried continually, some one way, some another. As, when grain is shaken and winnowed by fans and other instruments used in the threshing of corn, the close and heavy particles are borne away and settle in one direction, and the loose and light particles in another. In this manner, the four kinds of elements were then shaken by the receiving vessel, which, moving like a winnowing machine, scattered far away from one another the elements most unlike, and forced the most similar elements into close contact.”

–Derrida, Chora-L As part of his collaboration with the architect, Peter Eisenman, on a design for one of the folies, to be included in the Park for Creativity, Parc de la Villette, in Paris, Derrida produced a drawing and a descriptive concept for an impossible project: to build Chora. “I propose therefore the following ‘materialisation’: in one or three exemplars (with different scalings) a gilded metallic object will be planted obliquely in the ground. Neither vertical nor horizontal, a most solid frame will resemble at once a mesh, sieve, or grid and a stringed musical instrument. An interpretive and selective filter which will have permitted a reading and sifting of the three sites [at the Park] and the three embeddings.”

–

2018-07-30T20:35:55+00:00 July 30th, 2018|Categories: Design, Diagram, 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, Haiku Reason

Haiku Reason. Spring Break of 1980 I went to Europe and met Joseph Beuys in Düsseldorf and Jacques Derrida in Paris, protagonists of Applied Grammatology (1985).  The other adopted mentor I wanted to meet, Roland Barthes (inspiration for Teletheory, 1989), was fatally injured in an accident just a few days before I arrived in Paris. On the strength of reading Barthes’s Camera Lucida, published late in his career, in which he theorized image logic by analogy with Japanese haiku poetry, I based my introduction to image thinking in Internet Invention on haiku reason (synonymous with reasoneon). What I didn’t know was that at the time of his accident Barthes had just completed a seminar in which the fall semester was devoted entirely to haiku poetry as a foundation for thinking about imaging in general: The Preparation of the Novel, English, translation published 2011. We will return to late Barthes, whose A Lover’s Discourse: Fragments, is a relay for mystory (in Teletheory). Japonisme in any case played a major role in the invention of modernism in France, a symptom of the syncretism underway throughout the colonial period forming a hybrid of Western and Eastern civilizations, with artists creating the cyberpidgin language made necessary by the trade routes opened by the corporation, the new institution of electracy (East India Company, 1600). In this context, Barthes’s example motivated a closer look at Japonisme in particular and Eastern resources in general.

Haiku Prose

Roland Barthes’ Empire of Signs not only gives a theory and description of Japan as a haiku civilizatin, each entry (“sign”) is composed using Barthes’ own version of haiku poetics. This style is neither definition nor description in the Western sense of these terms, but “pure designation.” Barthes’ signs are not exactly brief, but they are closely observed “impressions,” staying in the moment, focused on the material signifying details of some feature of the physical world. This style is an excellent relay, useful for prose documentation of the exhibits in each discourse of your mystory. For example,

Pachinko
Pachinko is a slot machine. At the counter you buy a little stock of what look like ball bearings; then, in front of the machine (a kind of vertical panel), with one hand you stuff each ball into a hole, while with the other, by turning a flipper, you propel the ball through a series of baffles; if your initial dispatch is just right (neither too strong nor too weak), the propelled ball releases a rain of more balls, which fall into your hand, and you have only to start over again — unless you choose to exchange your winnings for an absurd reward (a candy bar, an orange, a pack of cigarettes). Pachinko parlors are extremely numerous, and always full of a varied clientele (young people, women, students in black tunics, middle-aged men in business suits). It is said that pachinko turnovers are equal (or even superior) to those of all the department stores in Japan (which is certainly saying a good deal)

    …

You need to use prose in each installment of your widesite, as well as graphics. I have used Empire of Signs in my courses as an analogy (it has a hypermedia feel). What Barthes does for the world (“diegesis”) of “Japan” you should do (at least to a degree) for the diegesis of the worlds of your Family memories, Entertainment work, and Community History.

2018-07-30T02:00:02+00:00 July 29th, 2018|Categories: Uncategorized|

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: , , , , , , |

TPE: Emblem 2

ICONOLOGY. Learning to capture the identifying gesture and attributes of the wide image in an emblem has as relay an ancient tradition.

This pictorial tradition can be traced back to an engraving by Marc Antonio. It shows an almost naked woman of Giorgionesque type watering a flower. This enigmatic motif can be explained with the help of the literary tradition. It is a symbol of “Grammatica.” As the plant grows through watering so the young mind is formed through the study of grammar. In late antiquity grammar became the foundation of the liberal arts.
Rudolf Wittkower, Allegory and the Migration of Symbols, Thames and Hudson, 1977.Wittkower inventories some of the related features associated with Grammar in her allegorical representations: “an old woman carrying a vessel which is supposed to contain medicine for correcting the children’s pronunciation and a knife for sharpening their defective tongues. She also holds a file, with which the grammatical mistakes can be removed.” Ultimately, the watering of the flower became the chief motif of the allegory.

_________

–Artist Appropriations.With the renewed interest in allegory associated with postmodernism, contemporary artists have brought photography to bear on the tradition of iconology, as in this work.

“The Tears of Concupiscence”
from the series Imprese by Olivier Richon
Other Than Itself: Writing Photography Eds. John X. Berger and Olivier Richon, Cornerhouse Publications, 1989.

How would you picture “ardent, sensuous longing” (lust)?

–From the Archive:

Here is one example of an emblem, taken from Geffrey Whitney’s Choice of Emblemes, published in Leiden by Christopher Plantin in 1586. It is the first full-fledged English emblem book in the continental style, and uses woodblocks from a number of other emblem books, the most important of which is Alciato’s Emblematum liber. (www.mun.ca/alciato/wcomm.html)

Dissidia inter aequales, pessima
(Disputes among equals are the worst)

The Swallowe swifte, dothe beare unto her neste
The Grasshopper, that did no daunger feare,
For that shee thought, the lov'de togeather beste,
Bycause they both, observ'de one time of yeare,
  And bothe, did joye theire jarring notes to sounde,
  And neare the house they bothe, theire dwellings founde.

Yet time, and tune, and neighbourhood forgotte,
For perfect frende, a tyrant shee became,
Which taxeth those, whome God dothe heare allotte
Like gifts of grace, to winne a lasting name,
  Yet Envie soe theire vertues doth deface,
  It makes them foes, to them theie should imbrace.
2018-07-29T19:01:34+00:00 July 29th, 2018|Categories: Art, Tutorials, Wide Image|Tags: , , , |

Theopraxesis: Emblem

Catechism: Wide Image. The catechism of modernism (drawing on the Western Tradition) is articulated in Kant’s philosophy and Gauguin’s painting. The answers to the questions are specific to each person, and are generated during the composition of the wide image. Several posts are required to unfold this poetics, by means of which egents learn to actualize in their own projects the intelligence potential (latent) in the cultural archive. This archive in its global version functions for electracy the way Avatar functioned for orality: source of absolute knowledge (the project of Avatar Emergency was learning to receive this communication of Avatar). One of the first things that happens in transition from one apparatus to another is the mise en machine of the previous apparatus. As McLuhan observed, the content of the new medium is the old medium (literacy put oral mythologies into writing; electracy digitized the libraries). The remainder of the apparatus epoch is devoted to invention and diffusion throughout society of the new metaphysics (operating practices).

–Emblem. The translation of mystory into wide image is mediated by emblematics. The emblem (having the same structure as a generic advertisement), considering its historical relationship with allegory, expresses in condensed form the image of wide scope ( sinthome, Lacan) that emerges in the making of a mystory (it embodies the pattern of signifiers that repeat when the makers situation is mapped across the popcycle). Studio and Textshop exercises explore the form, including its history from its introduction in the Renaissance through to contemporary advertising. An advantage of the form is just this combination of archival presence and pop familiarity. Ulmer designed this emblem based on his mystory: Motto is “pithy,” aphoristic, allusive, to produce an evocative connotation when combined with the picture. The epigraph is informational, clarifying what is suggested in the motto-picture juxtaposition.

–Advertisement.The Marlboro Cowboy
In 1954 Philip Morris Corporation sought an advertising agency to design a campaign that would allow men to smoke a filtered cigarette in public without embarrassment. Leo Burnett (The Burnett Agency) did some research to determine the most “virile” male image in American culture, which not surprisingly turned out to be the “cowboy.”

2018-07-29T18:09:54+00:00 July 29th, 2018|Categories: Design, Device, Overview, Theopraxesis, Tutorials, Wide Image|Tags: , , |

Theopraxesis: Apparatus

Apparatus Orientation. Gauguin’s visualized catechism exemplifies the orientation (EPS) organizing the Western Tradition. The table on the left charts the isotopic alignments of Capabilities across the microcosm/macrocosm, individual and collective registers. The Western Tradition in our heuretic curriculum is configured to make explicit this system of relationships among the virtues and the popcycle. The theme takes many forms, one of which is the legend of the Golden Apple Paris awarded to Aphrodite in the context with Athena and Hera regarding which power was most desirable. The three goddesses represent the three virtues: Athena (Wisdom and War); Hera (Social and Political Power); Aphrodite (Sexuality and Fertility). Plato addressed the relationship among these powers in the Republic, advising a hierarchy of Head (Rulers), Heart (Guardians), Viscera (Workers), in that order. Education of the individual begins with Aphrodite (sexual desire, appetites), and follows the power of attraction upwards through the virtues to Hera’s realm of social custom, and finally on th Athena’s wisdom, knowledge of the Forms (Ideas) themselves: Beauty as such.

–Kant’s Critiques retrieve Aristotle’s Theoria, Praxis, Poiesis, Circumscribing the limits of each Capability: Pure Reason, Practical Reason, Judgment of Taste, with the Third Critique constituting an innovation that marks the beginning of Electracy–the promotion of the faculty of imagination (poiesis, aesthetics) to equal status with the other two faculties, which up to that point it did not have. Kant proposed his own version of the catechism, relative to these three powers: What can I know? What should I do? What may I hope?  This system informed Alan Kay’s design of computer interface when he worked at Xerox Park. Navigation of information space should engage all three of the virtues (theopraxesis in our terms). The three inputs: Keyboard (Symbol, highest order conceptual, linguistic) = Athena; Mouse (enactive doing) = Hera; Windows (image, icon) = Aphrodite.

–Nested levels (mise en abyme): The table helps clarify that, however dispersed our exposition may become, this system configuration is consistently present, governing the transformation from potential to actual.

  • Collective: Apparatus–Paleo, Oral, Literate, Electrate
  • Collective: Popcycle Institution–Family, Church, School, Corporation
  • Individual: Capability–Language, Will, Thought, Imagination
  • Individual: Theopraxesis (Mystory Wide Image generate hypothesis from disposition)
  • Meta: Mandala, Game, Engine, Drive [not yet discussed]
2018-07-28T17:15:19+00:00 July 28th, 2018|Categories: Capability, Orientation, Overview, Theopraxesis|Tags: , |

Theopraxesis: Gauguin

Capability.  As these posts accumulate across an expanding set of categories, it is important to recall the focus of KE. Konsult learns the writing of the disaster in three dimensions: heuretics (invention), wide image (mystory), theopraxesis (capability). So far we have assumed some disaster addresses us, and devoted our attention to the heuretics of mystory, learning how to design an image of wide scope, source of our original hypothesis responding to disaster. Konsult takes up for electracy an ancient, even primordial drama: the striving to persist in one’s own being (to live), that Spinoza called Conatus, against the Overwhelming force of resistance, entropy, death. Heidegger characterized the drama as Riss, exploiting as was his craft German vocabulary, finding a term that means both Rift (split, break) and design (drawing). The drama of living derives from an irreducible opposition between Earth and World (nature and culture). Konsult is rift design (an assertion that must be developed elsewhere), taking up this enigmatic primordial experience of resistance encountered through living. Norbert Weiner, one of the inventors of cybernetics, defined life simply as anything that was negentropic, whether man or machine. We need to include in the drift of our posts a review of human capabilities, virtues, powers, the potentiality of egents which through education is realized in the service of well-being, thriving, living against disaster.

–Gauguin in Tahiti. An important part of KE is advisory to colleagues experimenting with transitions from literacy to electracy, adapting alphabetic curriculum and pedagogy to digital metaphysics. Posts up to now have referenced various canonical figures practicing the poetics of popcycle, mystory, wide image. The basic proposal for transition into electracy is just to reframe the curriculum within heuretics, to engage with it (following the advice of Roland Barthes)  not in terms of what it means, but how it was made. This is the fundamental lesson of the avant-garde arts, relative to the new purpose of electracy which is not to communicate a meaning (literacy does that), but to access a visceral memory that otherwise remains inchoate. The practical point is that the entire curriculum manifests a continuous engagement with the three fundamental capabilities, intellectual virtues, human faculties, first defined by the Classical Greeks (Aristotle). These are the negentropic faculties or powers that are potential in every person, beginning in a state of impotence, with the mission of education being actualization of world.

–The Three Questions. Gauguin, for example. Literate schooling studies the likes of Gauguin, Momaday, Sebald, Heidegger. The heuretic frame shifts the role of these exemplars to relay: egents are positioned not as students observing from the outside some body of information, but as receivers of a tradition (tradition is Avatar, konsult is Gita (Song) by means of which egent receives the totality of what tradition knows). Let Gauguin’s masterpiece serve as emblem for a catechism fundamental to the Western tradition (Hal Foster in Prosthetic Gods proposed that this work represented the catechism of Modernism). The title consists of three questions: Where do we come from? What are we? Where are we going? These questions anchor our fundamental theme: orientation, and how it is modalized in electracy. The work must be placed in its situation, since the implicit question always is: what is that for me? Gauguin’s state of mind in Tahiti in 1897 was despair, disillusionment exacerbated by debt and illness (the primitive paradise he had imagined disappeared a hundred years before he arrived). Gauguin decided on suicide, but wanted first to paint a testament. The scene of this wall-sized tableau is a narrative, developing from right to left, the movement representing the vector of life and death (Derrida’s trace).

The upper corner chrome yellow (like damaged fresco). To the right below sleeping baby three seated women, two figures dressed in purple confide their thoughts. Enormous crouching figure (intentionally violated perspective) raises its arm and looks in astonishment at these two people who dare to think of their destiny. A figure in the center is picking fruit. Two cats near a child. A white goat. An idol, both arms rhythmically raised seem to indicate the Beyond. A crouching girl seems to listen to the idol and lastly an old woman approaching death appears reconciled to her thoughts. She completes the story. At her feet a strange white bird holing a lizard in its claws, represents a futility of words. The setting is  the bank of a stream in the woods. In the background the ocean, and beyond, the mountains of a neighbboring island. In spite of changes of tone, the landscape is blue and veronese green from one end to the other. The naked figures stand out against it in bold orange. If anyone said to the students competing for the Rome Prize at the Ecole des Beaux Arts, the picture you must paint is to represent Where do we come from? What are we? Where are we going? what would they do?  (Paul Gauguin, in a letter).

Yes, that question is addressed to us, egents of the EmerAgency.

2018-07-28T15:28:22+00:00 July 27th, 2018|Categories: Art, Capability, Orientation, Theopraxesis|Tags: , , , |

MYSTORY: N. Scott Momaday

The Way to Rainy Mountain. Son of a White mother and Kiowa father, Momaday was raised on a reservation. His novel House Made of Dawn won a Pulitzer Prize in 1969. His autobiographical The Way to Rainy Mountain was assigned as relay modeling the micro form and overall structuring by means of signifiers repeating across levels of the popcycle. Rainy Mountain juxtaposes Kiowa myths Momaday learned from his grandmother; the actual history of the Kiowa symbolized in the myths; his personal recollections of his childhood on the reservation. The text manifests identification (with his grandmother Aho and his grandfather Mammedaty); the use of pattern (the unity of each section is created by the repetition of a detail within the exposition across the three discourses); the use of setting to express feeling (the memories of scenes from the reservation). Most important is the location of Momaday’s memories of childhood in the context of the traditional stories and actual history of his Community (Kiowa), thus bringing the three levels of his symbolic experience into contact–personal, historical, mythical (entertainment fictions in a modern point of view). The book is a collection of thirty-four three-paragraph units (plus introduction and epilogue) illustrated with drawings by Momaday’s father. Unit 3 is cited as example: the popcycle sequence is always the same: Mythology; History; Memory.

III

Before there were horses the Kiowas had need of dogs. That was a long time ago when dogs could talk. There was a man who lived alone; he had been thrown away, and he made his camp here and there on the high ground. Now it was dangerous to be alone, for there were enemies all around. The man spent his arrows hunting food. He had one arrow left, and he shot a bear; but the bear was only wounded and it ran away The man wondered what to do. Then a dog came up to him and said that many enemies were coming; they were close by and all around. The man could think of no way to save himself. But the dog said: “You know, I have puppies. They are young and weak and they have nothing to eat. If you will take care of my puppies, I will show you how to get away.” The dog led the man here and there, around and around, and they came to safety.

A hundred years ago the Comanche Ten Bears remarked upon the great number of horses which the Kiowas owned. “When we first knew you, he said, “you  had nothing but dogs and sleds.” It was so; the dog is primordial. Perhaps it was dreamed into being. The principal warrior society of the Kiowas was the Ka-itsenko, “Real Dogs,” and it was made up of ten men only, the en most brave. Each of these men wore a long ceremonial sash and carried a sacred arrow. In times of battle he must by means of this arrow impale the end of his sash to the earth and stand his ground to the death. Tradition has it that the founder of the Ka-itsenko had a dream in which he saw a band of warriors,, outfitted after the fashion of the society, being led by a dog. The dog sang the song of the Ka-itsenko, then said to the dreamer: “You are a dog; make the noise like a dog and sing a dog song.”

There were always dogs about my grandmother’s house. Some of them were nameless and lived a life of their own. They belonged there in a sense that the word “ownership” does not include. The old people paid them scarcely any attention, but they should have been sad, I think, to see them go.

Each numbered section is unified around one “pedagogical object”: arrow, spider, horse, hunting and the like. The importance of Mammedaty in this world is documented in unit XXI, in which Mammedaty appears in all three of the popcycle levels. The Disaster governing this world is that of the reservation itself, the destruction of the Kiowa people.

2018-07-27T14:57:57+00:00 July 27th, 2018|Categories: Device, Draw, EPS, Mystory, Narrative, Popcycle|Tags: , |
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