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<small> 1) what have been your current areas of research?
<small> 1) what have been your current areas of research?


'''TOPICS:'''   
'''THEMES:'''   


<font color="gray"> interfaces // spaces (data structures; data vizualization => communication systems <= language structures;  and types: graphic, linguistic, geometric, mathematic...)   
<font color="gray"> interfaces // spaces (data structures; data vizualization => communication systems <= language structures;  and types: graphic, linguistic, geometric, mathematic...)   
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<font color="gray">case scenario - MOVEMENT
<font color="gray">case scenario - MOVEMENT


"... or use for its creation new rules starting from zero, that is, set out on a '''path of construction''' (...)  the critical, crucial absence of transformational processes or, as Immanuel Wallerstein more precisely defined it, the "transformational TimeSpace" in "The Inventions of TimeSpace Realities: Towards an Understanding of Our Historical Systems,".
"We needed to formulate our (phenomeno­‑logical) experience with the world of revolution and transformation explicitly, to search for the boundaries between the role and thinking of an individual and movement in society, of passivity and activity; to search for keys which would give meaning to events in societies, imaginations, and transformations in which we were both passive and active actors. "


"Atlas is an assemblage in which the individual components (entries) do not have their own set place—it is by reading that places are found for them. Just as an atlas begins with introductory maps, so the editors have experimented in offering at the beginning of the book a plurality of diagrams (of the body, machine, landscape, architecture/assemblage, and so on), creating schemes and models of relationships on how one can interpret and order the entries of the dictionary anew each time, but by a different method. There is no "main" diagram; none of them are above any others in the hierarchy. Their (non)spaces can interpenetrate on several levels and meet at several junctions. Each individual virtual assemblage originating in the head of the reader is possible and correct, because their number is not reducible or quantifiable. "
"Atlas is an assemblage in which the individual components (entries) do not have their own set place—it is by reading that places are found for them. Just as an atlas begins with introductory maps, so the editors have experimented in offering at the beginning of the book a plurality of diagrams (of the body, machine, landscape, architecture/assemblage, and so on), creating schemes and models of relationships on how one can interpret and order the entries of the dictionary anew each time, but by a different method. There is no "main" diagram; none of them are above any others in the hierarchy. Their (non)spaces can interpenetrate on several levels and meet at several junctions. Each individual virtual assemblage originating in the head of the reader is possible and correct, because their number is not reducible or quantifiable. "
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(http://monumenttotransformation.org/atlas-of-transformation/html/h/hybridization/the-art-of-being-guilty-is-the-politics-of-resistance-boris-buden.html)</font>  
(http://monumenttotransformation.org/atlas-of-transformation/html/h/hybridization/the-art-of-being-guilty-is-the-politics-of-resistance-boris-buden.html)</font>  


"As instrumentality is natural to the realm of machines, so autopoeisis and symbiotic relationships are natural to biological organisms and systems thereof. In biological (as well as social) systems, cybernetics notwithstanding, identification of discrete inputs and outputs depends on a tenuous and strained contrivance. A critically motivated practice might work towards technological projects in which organization is based on an autopoietic or ecological metaphor, where none of the entities or parts produce ‘output’ but, in the spirit of Actor Network Theory, all entities – humans, animals, instruments, networks and institutions are conceived as agents are linked in a hybrid, heterogeneous and mutually enhancing circulation. New paradigms for understanding and making interactive cultural pursuits may be theoretically enhanced by reference to contemporary Cognitive Science, Neurophysiology, Ecology and Social Theory." http://eleven.fibreculturejournal.org/fcj-072-experience-and-abstraction-the-arts-and-the-logic-of-machines/




3) formulate an (im)possible project (or projects) that address 1) and 2)
3) formulate an (im)possible project (or projects) that address 1) and 2)


<font color="gray">Progress versus Utopia or Can We Imagine the Future? Fredric Jameson (http://monumenttotransformation.org/atlas-of-transformation/html/f/future/progress-versus-utopia-or-can-we-imagine-the-future-fredric-jameson.html)</font>
'''I propose a reflection on SPACE. an interrogative space; a space of wonder, a place in which to express doubtful speculation.'''
 
 
<small><font color="gray">Progress versus Utopia or Can We Imagine the Future? Fredric Jameson (http://monumenttotransformation.org/atlas-of-transformation/html/f/future/progress-versus-utopia-or-can-we-imagine-the-future-fredric-jameson.html)




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What could be the nature of an ecology of affects that has the potential to produce a change?"
What could be the nature of an ecology of affects that has the potential to produce a change?"


<small>http://apass.be/ecology-of-affects/</small>
http://apass.be/ecology-of-affects/
 
 
Who are we in the 21st Century?
How does an individual relate to the group? What is today most important unreported story? Why do we believe more in nationality than in identity? Why do we dream? Is resistance a sort of revolution?
 
A cinematic interpretation of the world's largest round table gathering, PROBLEMA is a visually imaginative, thought-provoking invitation to a world of global dilemmas. Spanning seventeen questions confronting who we are and where we're going, the film follows the insights, perceptions, reflections and views of over 100 people from more than 50 nations sat together in one circle.
 
'problema' from Latin problema (genitive problematis) 'problem', 'puzzle', 'enigma', 'question proposed for solution', from Ancient Greek πρόβλημα (problema, 'obstacle'), from προβάλλω (proballo, 'to throw or lay something in front of someone', 'to put forward'), from prefix προ- (pro-, 'in front of') + βάλλω (ballo, 'to throw', 'to cast', 'to hurl').
 
http://www.problema-thefilm.org
 
[14] If physics is the study of what is and metaphysics is the study of what ‘what is’ is, then pataphysics is the study of what ‘what “what is” is’ is. ‘Pataphysics…is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics… Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. Pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one… Pataphysics is the science of imaginary solutions…’ (Jarry).</font> </small>
 
 
 
[[File:Scheme_year1-01.png|750px]]

Latest revision as of 21:33, 21 June 2015

1) what have been your current areas of research?

THEMES:

interfaces // spaces (data structures; data vizualization => communication systems <= language structures; and types: graphic, linguistic, geometric, mathematic...)

experience - perception - phenomenology

SPACE - mapping/ placing - accessiblitiy

(body) MOVEMENT in SPACE - knowledge / conscience

TOOLS:

web desinginig; programming languages; computational creativity tools; other software.

visuals: (moving) images - type/graphics; sound; multimedia installation; performance (?)


2) how do you intend to build on them?

case scenario - MOVEMENT


"Atlas is an assemblage in which the individual components (entries) do not have their own set place—it is by reading that places are found for them. Just as an atlas begins with introductory maps, so the editors have experimented in offering at the beginning of the book a plurality of diagrams (of the body, machine, landscape, architecture/assemblage, and so on), creating schemes and models of relationships on how one can interpret and order the entries of the dictionary anew each time, but by a different method. There is no "main" diagram; none of them are above any others in the hierarchy. Their (non)spaces can interpenetrate on several levels and meet at several junctions. Each individual virtual assemblage originating in the head of the reader is possible and correct, because their number is not reducible or quantifiable. "

(http://monumenttotransformation.org/atlas-of-transformation/html/h/hybridization/the-art-of-being-guilty-is-the-politics-of-resistance-boris-buden.html)


3) formulate an (im)possible project (or projects) that address 1) and 2)

I propose a reflection on SPACE. an interrogative space; a space of wonder, a place in which to express doubtful speculation.


Progress versus Utopia or Can We Imagine the Future? Fredric Jameson (http://monumenttotransformation.org/atlas-of-transformation/html/f/future/progress-versus-utopia-or-can-we-imagine-the-future-fredric-jameson.html)


Can we associate sadness with the outcomes of our capitalist world? Are we affected so much by capitalism that we can only sadly survive in what seems to have become its ‘nature’? Can we still affect the world? What could a joyful passion mean today? Is a joyful passion subversive? How can we create the conditions for joy to be possible? Is it by re-allocating desire that new joys can emerge? Can artistic researches produce a change? How can agency be created with aesthetic means? Could we critically re-combine ethics and aesthetics to reclaim the transformative power of our researches? What could be the nature of an ecology of affects that has the potential to produce a change?"

http://apass.be/ecology-of-affects/


Who are we in the 21st Century? How does an individual relate to the group? What is today most important unreported story? Why do we believe more in nationality than in identity? Why do we dream? Is resistance a sort of revolution?

A cinematic interpretation of the world's largest round table gathering, PROBLEMA is a visually imaginative, thought-provoking invitation to a world of global dilemmas. Spanning seventeen questions confronting who we are and where we're going, the film follows the insights, perceptions, reflections and views of over 100 people from more than 50 nations sat together in one circle.

'problema' from Latin problema (genitive problematis) 'problem', 'puzzle', 'enigma', 'question proposed for solution', from Ancient Greek πρόβλημα (problema, 'obstacle'), from προβάλλω (proballo, 'to throw or lay something in front of someone', 'to put forward'), from prefix προ- (pro-, 'in front of') + βάλλω (ballo, 'to throw', 'to cast', 'to hurl').

http://www.problema-thefilm.org

[14] If physics is the study of what is and metaphysics is the study of what ‘what is’ is, then pataphysics is the study of what ‘what “what is” is’ is. ‘Pataphysics…is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics… Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. Pataphysics will examine the laws governing exceptions, and will explain the universe supplementary to this one… Pataphysics is the science of imaginary solutions…’ (Jarry).


Scheme year1-01.png

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