..It has been my humble personal experience and rare privilege to
know that there are those who not only will walk in the valley of
death, but do not hide from the storms THERE.
In the presence of another, while in the storm THERE they do not hide.
They do not shelter behind some large rock.
Nor do they simply move out, to hold the hand of the 'other' who
through some misfortune and/or ignorance has found him/herself there.
Seeing the storm approaching, they move toward the storm and THERE
they call out into the heart of the storm for those lost and blinded
and damaged by it. BLINDed themsleves, injured NOW they take into the
eye of the STORM.
.. and THERE they GUIDE the STORM.
["The Christian Knight follows the right path even with the presence
of the devil and death. He's riding through the darkness of the valley
of the shadow of death to reach the City of God in the background. The
hourglass in the hand of death symbolizes mortality and the shortness
of human life. The snakes in death's hair are symbols of death and the
devil. The dog is a symbol of faithfulness in religion and marriage.
The dragon-like lizard is an emblem of evil and it's going in an
opposite direction. Dead tree stump refers to the original sin of
Adam. We are certain that the knight will reach his goal because of
the power and assurance we get from the printed image." ]
..turning the page --> "to work with gravity, with heaviness, the way
a sailboat works with the wind" ;-) (see recent pdf image from the
Guardian, UK.) An early, but often unconsidered part of Virilio's
practice, Oblique Architecture creates a situation in which "Every
dimension, every direction of space becomes a modification of the
body" This conception of the built environment, which resonates so
strongly "posthumanist" discourses, seeks to engage the body with the
environment at every turn. But taken in the context Virilio's larger
concerns with "the contraction of distances" ...(Paul Virilio,
commentary and quotes)...
note, to contemporaries:- in other etchings from this period Durer
has compressed the pictorial space in such a way that all kinds of
incongruities appear to the eye on the picture plane, so and for
example -- in one a stag-deer stands on the back of the Knight's
horse, which of course, in reality ;-) is not possible...is it?
Angels and Buckets... fitting (Bohm) for a Post Modern LO? Who knows?
"You (Andrew) once quoted Prigogine about the need to encounter the
completely amazing or absurd. You seem to do this...this skitting from
timeTime, Beam(ish), Whales, images, here and there...in your pdf you
quote Prigogine again, and he points to Huxley and ...(anon)
"Paul Virilio: Yes, but when I talk about globalization, I am myself a
citizen of the world. It is not about opposing globalization. I am
saying that the globalization of time- to return to what I was saying
a minute ago - is a catastrophic event. So, to be sure, the problem is
not the globalization of dialogue among nations. The problem is in the
instantaneity and the ubiquity. Let me give you a simple picture. The
Industrial Revolution encouraged standardization. And we know the
extent to which this is a loss of the socio-diversity of cultures, not
to mention the loss of handicrafts, etc. The Informational Revolution,
however, is no longer aiming at the standardization of opinions,
products, and objects but at their synchronization, which is a
tyrannical situation like we've never seen. Even Orwell did not
foresee this idea of global synchronization, in other words, the
tyranny of real time, and hence that the conquest of real time would
replace the conquest of the North Pole. It is this level of
temporality at which my attack is aimed, and not at all... I am
repeating myself; with Garry Davis I was one of the citizens of the
world when I was young, and I haven't changed my mind, on the
contrary-but I believe that synchronization is a tyrannical phenomenon
whose impact has not yet been fully appreciated. This is the danger of
the new technologies. Like all technologies, they obviously have their
benefits. But they conceal an absolute accident which is the perfect
synchronization of the opinions, and emotions, of the world."
i think i discern (know ) from your last monochrome work in the Varela
interview ;-) series made in the midsummer of 2001 an insight into
some new storm, some new war....is this in any way connected to your
visit to see Ms Sacks at Oxford, who worked with Jospeh Beuys?
..Let me answer you from the same Paul Virilio paper (that 'anon'
sent me) that i only received last night (13th July 2004) because it
links with other matters that are, well, let's say backgrounded in the
way senge speaks of drama, theatre and foregrounds, ...those
"Derrick de Kerckhove: I wanted to ask your opinion about the
extraordinary correspondence between the different stages of the event
on 9-11 and the principle elements of Greek tragedy as they have been
developed by Aristotle and others. What I am about to tell you is
going to sound pedantic, I'm sure, but in the end it will be worth it
since, after all, we have kept Greek tragedy alive throughout Western
history-it was not for nothing, and maybe it's useful. First I want
to point out how 9-11 is all about important families in a unified
world, just like in the Greek world represented by the tragic drama,
in which the whole Greek world is involved. The Greek world of tragic
drama is total reality. Similarly, for us, what is happening today is
clear, Paul perfectly explained it to us, it is unified world reality.
Who is in this reality? First and foremost it is the number one man,
the big boss. Tragedies always involve important characters because
these important characters have the power to act on the rest of the
world. And today we are under their thumb.
Now who are these important families? They are the big oil families.
These influential families have their finger on the new nerve of war,
which is oil. One could prove it in every conceivable way. So I would
like you to say something here precisely to expose the dynasty, the
affiliation of the father and son in this story which puts two
important characters on the stage, Osama Ben Laden on the one side and
George W. Bush on the other.
Paul Virilio: If you don't mind, first it just so happens that before
working on the text for Ars Electronica's catalogue, I read over again
Nietzsche's Birth of Tragedy. Really important. There are two books we
should re-read right now: Freud's Culture and its Discontents and
Nietzsche's Birth of Tragedy. Now Nietzsche says something really
positive about tragedy which people have underrated. There are the
heroes you mentioned and those we talked about, Bush senior and
junior. But there is also the ancient chorus. The ancient chorus is
the city. The city is democracy, we are the city. Somehow the question
of the ancient chorus has not been raised today. The heroes speak, but
the ancient chorus remains silent. Hence the importance of a
Johannesburg of civil peace. Because let me remind you that terrorism
does not threaten so much the international peace as world civil
What is threatening us at the moment is not the Third World War, it's
the first global civil war. New York is the equivalent of Sarajavo in
the first European and world war. "
Now last night, just before anon. sent me the words above i was back
in 1996 with At and his correspondents - a small chorus, then as
Replying to LO10778 --
One feature of Julian's excellent summary of SFI's (Santa Fe Inst.)
complexity work (integrated with the work of others) missed an
important feature for the topic of creativity. From the depth of
Julian's cover of the subject, I suspect it was missed due to length
rather than anything else.
That is the feature of the "genes" or "bits" or "threads" to remain in
existence in some largely unused form and to resurface as part of new
threads which are created. This is one of the features of Holland's
work on recombination.
Ideas (or threads) which appear to be part of an earlier chain lurk in
the background and resurface when new threads provide new
opportunities. The "old" ideas often occur as new when recombined with
the new thread.
In genetic algorithms, this is generally referred to as rules which
are less effective - sometimes even "wrong" or detrimental - in
earlier threads being used in later ones to positive effect EVEN
THOUGH THEY ARE STILL WRONG. That is, the evolution of genetic
algorithms - or of nature - occasionally uses less effective "rules"
or else they might as well not be saved.
It is also clear that this saving and use of less effective components
is part of the system's continuing evolutionary pattern. That is, the
patterns are not seeking optimum but seeking viability in many
circumstances - robust survival possibilities. Holland uses the
example of the human sexual reproduction patterns are not attempting
to find optimum individuals --snip-- and attempting to make many
copies of them. Their genes just go into the pool and mix with others
for other options being developed. This implies that ideas do not die
out even though, as Julian pointed out, the pathways of the ones which
are effective deepen or strengthen with use. But, then they too lose
strength or "die out" and still remain in the background to
Michael McMaster 1996
..is there much time left, Andrew?
dear anon, there is NO time ;-) left, right, wrong or otherwise
(To see Durer's 'Knight' and his 'faithful dog' please open my PPt
file -- the design over the head of whom is At's original composite
artwork on leadership's complex nature, i simply tu(r)ned in into its
own storm. You may think you see in it at the edges there repeated
Durer's Knight's Doggy's head, right to his nose and ears...BUT that
would be too astonishing...so do not believe what you see
done...but...then not believing will you see the storm coming.)
[Host's Note: Andrew's PPt file is at
PS. anon. Please extend my sword hand to your 'Christian Knight', it
is free;-) and by way of ''becoming-being'' Eternal.
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