alone in the otherness

or, what i didn’t do over my summer vacation…or, this is what happens when you stew over things.  i’ve been talking about and mulling over what follows since june.  i need to put this down and keep going.  i’m very interested in the ideas.  i’m just not going to practice stew no more.

so,

my father called to tell me that he heard something on NPR about how insects emit frequencies that resonate sympathetically with the plant life around them in such a way that certain plants become transmitters of specific frequencies emitted by bees and other insects.

i’ve been spending much more time in the woods this summer and, around the time of my father’s call, had been climbing trees.  the tree climbing began when it was necessary for me to use a tree to get over a fence in a park i frequent.  once in the tree i realized that without much trouble i could ascend further and, well, now i enjoy climbing trees…

anyway, i noticed that when my body is pressed onto a limb (in my case, often holding on [er…hugging] in fear), how much i could feel the movements of the trees, the leaves, and, by extension, the vibrations from the surrounding air and earth.

while in a tree i remembered a deep listening exercise i learned from pauline oliveros i’d practiced with my students that involved focusing one’s attention on the nearest and then farthest perceptible sounds. deciding to adapt this exercise by focusing on the movements within the tree, i closed my eyes and, after a while, felt an increase in the lower frequency rumblings. i realized that i was about fifty feet from some lightrail tracks and assumed that a train was about to pass.  looking up i glanced out and waited for what felt like too long – and i momentarily thought i was sensing something else when the signal increased dramatically and the train finally passed.  i estimate that i sensed the train about three minutes before it arrived.

later, i saw a flock of birds lift off from a neighboring field and quickly get into formation and realized that the medium of air, for them, offers an awareness of and palpable connection to the group, a collective, essentially ‘haptic’ data stream, that is similar to what fish must experience underwater.

i climbed down from the tree and looked around.  i saw a lot, heard a bit less, smelled even less, and felt very little.  the souls of my shoes impeded the vibration around me – i had been cut off from the complex,  infrasonic percolations and patterns that the tree seemed to connect me to.   i walked back through the woods and returned to the paved path, walking while thinking deeply.  within ten minutes or so was almost hit by a cyclist who was trying to pass me that i didn’t sense coming at all.  i remembered a friend telling me how hunting was meditative because hunters need to become utterly still so as not to reveal their presence.  i thought about all the layers of insulation we put on all the surfaces we interact with and how those layers are complicating so many necessary and persistent interactions.

i thought about the tsunami from a couple years ago and how the vast majority of deaths were human. from what i’ve read,  most other animals retreated from coastlines and headed for higher ground hours before the waves hit.

i went home and did some research and found out that most terrestrials use the surface of the earth as we use our vast communications systems.  elephants (Vibration as a Communication Channel: A Synopsis, Peggy S.M. Hill), for example, have what amounts to water beds on the souls of their feet that amplify the earthly rumblings.  their proboscis feature a sensitive infrasonic transducer near its’ end.  other terrestrials, frogs for example, can inflate their chests to amplify vibrations rippling across the surface.  still other species use their lower jaw to receive the same signals. i thought about how essential it is for all ectotherms (‘cold-blooded’) to be on the surface as much as possible.  birds and insects seem to be tightly coupled with their environment as fish are to water.

i thought about myself, at that moment, standing in my shoes in the woods and surrounded by sights, sounds, and scents, i felt numb.  it occurred to me that, as walkers on the surface, we’re in between crawlers and flyers – who both seem holistically integrated into the environment via sophisticated physiological attributes that allow them to ‘outsource’ much of their ‘understanding’ of the world to the world itself, and exist in a state of collaborative interdependance.  not so for us. we see the world as a collection of discrete particles and objects, and understand our experience as the intersection of these discrete components.

i remembered some research i’d done on walking, and how to build robots that walk, and how inefficient the ASIMO is, for example, and how some researchers were using passive dynamics (Steve Collins, University of Michigan) to make walking machines efficiently (no batteries required), and how one researcher wrote that our gait is, essentially, a controlled fall.  another friend, working a design job for a shoe company, shared with me the fact that higher the shoe lifts the body off the ground the greater the skeletal distress it causes.

to me, we seem alone in the otherness.  we seem cut off from the complex interactions, the array of causes and effects, that regulate and balance most life on this planet. where other tree dwellers developed tails to help them maintain balance and connection, we descended, stood up on two feet, and grew a huge frontal lobe, and have been in a controlled fall ever since.

as endotherms our senses are tightly integrated for survival.  endotherms, often hunters, need an accurate picture of their environment in order to eat.  as endotherms with huge brains and a physiological disconnection from the feedback relationships other species live in, our models of the world seem often to have the specificity of dreams or hallucinations – and are just as effective as those figments of the imagination, especially in the long term.  our  inevitable  ‘data processing’ within  our peculiar physiological system and environmental relationship contributes to this ‘otherness’ by adding what seems to be a significant delay in our interactions, causing us to value our mental model over that which is being modeled.  we are a sort of endothermic apotheosis.  a radical and extreme form of an endothermic organism.

we have evolved to this point.  and evolution is the sum of all the complex interactions that comprise this reality and is far bigger than any ‘one’. in other words, our form is just as natural as any other form on this planet, yet we are so poorly integrated and so profoundly ‘othered’, i wonder how it is that we have survived?  well, we haven’t been here for that long….

it occurred to me that we have a fixation and awareness of our own death, and from what we deduce, other species do not share this awareness.  hard to prove.  yet, given our position in this world as the dreaming, giant-brained, odd men out,  it seems fitting that we would be ‘aware’ of our own situation, and, by extension, our inevitable, demise, doesn’t it?  we are fascinated by death, we ritualize and worship it.  it occurs to me that our medical technologies, for example, designed to extend life (stall death) are actually retarding our evolution, and in doing so complicating other environmental systems.  it further occurs to me that much of our technological development tends to complicate and ultimately slow ‘things’ down by elevating levels of energy exchange in trivial developmental areas while producing significant toxic by-products that many of us are unaware of.  mechanized travel, mass-production, the internet, etc. we seem to be actively, ignorantly, and sometimes gleefully accelerating our own demise while telling ourselves that we are either headed for some profound convergence (religious, scientific, technological) or ‘simply’ doing what needs to be done to survive in this world, unaware of the real effects.

perhaps our essence is persistent, inevitable conflict.  i really mean it: inevitable, persistent conflict.  no ‘permanent’ solution is possible.  we are driven (another conflict) to manage (another conflict) every situation yet don’t have significantly detailed models  to see the real causes and effects of our actions on the environment that we are aspects of (but we have the tools to create better models.  john yau said, in the introduction to a film on donald judd, that after the a-bomb metaphor is dead, and what we need are ways to see the world as it really is.  how many of us have responded to the information age by relying on forms and rituals that fall under the category of what kurt vonnegut refers to as ‘persuasive guessing’ ?[your guess is as good as mine]).

does this seem bleak? i’ve been living with these thoughts for about three months now and my stress level has lowered significantly – and i have some ways of measuring. the connection to the all is authentic and natural; our presence and participation are inevitable.  the signal we get is just really noisy, and the interplay of my will to create mental models of ‘my’ environment coupled with the dynamism of the environment and the fact of minimal, individual influence over pretty much anything (when you, and/or your friends make bizarre decisions about something important: relationships, work, etc., ask them why they did it.  you will be surprised how often they say, honestly, ‘i don’t know‘ – i’ve been doing that all summer and it has been very interesting, it suggests to me that there is a sort of brownian emotion at work and even one’s ‘private data’ isn’t under one’s control) makes for some complex, but somehow often pleasant surfing.

clan of the avatard

my friend beth, after a 22 hour trip from delhi to baltimore, commented drowsily that while traveling through india with a friend over the past month: “we were often, in fact, avatards from secondworld”.

drive time (2007)

[youtube]http://www.youtube.com/watch?v=C6HMufCzmZM[/youtube] <meta content="OpenOffice.org 2.0 (Linux)" name="GENERATOR" /><meta content="rouvelle" name="AUTHOR" /><meta content="20070609;9180300" name="CREATED" /><meta content="rouvelle" name="CHANGEDBY" /><meta content="20070731;23282000" name="CHANGED" /> </p> <style type="text/css"> <!-- @page { size: 8.5in 11in; margin: 0.79in } P { margin-bottom: 0.08in } --> </style> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in">here is the last installment of my current show at Fringe in LA. this piece is called drive time, here is the wall mounting:</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in"><strong>description:</strong> a small, visitor controllable time machine. pigmented (white gouache) drops of water are illuminated by a variable, user controllable strobe. by adjusting the speed of the strobe the drops appear to be frozen in time, moving forward, or moving backward. stick a finger in the drops and adjust the dial next to the basin to enhance the effect. nothing fancy, really, but i liked the way this piece worked with the other elements of the show. i particularly liked the backwards effect when placing a finger in the droplets of water. the sound was nice, too – and added a disorienting element as you could hear what was ‘really’ going on while your eyes were telling a different story.</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in">i traveled with this circuitry in my carry-on and couldn’t install the piece until an hour before the show due to a series of other things to take care of pertaining to the rest of the show. at 5pm i quickly set it up and, with fingers crossed, turned it on. with minimal tweaking it worked. my friend sam was generous enough to do a huge amount of circuit building/fabricating, and helped me trouble-shoot the waterworks as well. thanks sam.</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in">the strobe was giving us headaches while working in cramped rooms in baltimore. the room where the piece sits in LA was accidentally built twice as big as designed, but the larger space mitigated the intensity of the strobe and i found myself, and other visitors, spending lots of time with this work.</p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-08-01T03:56:31+00:00">August 1, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/artworks/" rel="category tag">artworks</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-50 --> <article id="post-49" class="post-49 post type-post status-publish format-standard hentry category-artworks entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/synchronous-oscillationemf-2007/">synchronous oscillation/emf (2007)</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p><meta http-equiv="CONTENT-TYPE" content="text/html; charset=utf-8" /><title /><meta name="GENERATOR" content="OpenOffice.org 2.0 (Linux)" /><meta name="AUTHOR" content="rouvelle" /><meta name="CREATED" content="20070609;9180300" /><meta name="CHANGEDBY" content="rouvelle" /><meta name="CHANGED" content="20070712;12441300" /> </p> <style type="text/css"> <!-- @page { size: 8.5in 11in; margin: 0.79in } P { margin-bottom: 0.08in } --> </style> <p style="margin-bottom: 0in">[youtube]http://www.youtube.com/watch?v=9D17F35-Rqk[/youtube]</p> <p style="margin-bottom: 0in">in nyc at roulette…</p> <p style="margin-bottom: 0in">[youtube]http://www.youtube.com/watch?v=tIrDB-8R9vE[/youtube]</p> <p style="margin-bottom: 0in">in LA at fringe</p> <p>here is another work currently being shown at Fringe in LA (i’ve been referring to the piece as ‘<em>so/emf</em>‘, too). the top video was shot in nyc at roulette in march, the second video is from Fringe. visitors to Fringe were encouraged to lift the objects out of the display table and use them according to the instructions below. i made a change in the device after the roulette show by swapping a laser for the IR transmitter, and by putting a dish (from a votive candle) around the IR receiver. my intention was to make synching the objects easier, and possible from greater distances. it worked. i have twelve of these things built but only showed eight in LA, leaving a few backups around just in case…</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in">here is the wall mounting from LA:</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in"><strong>description:</strong> eight hand-held devices equipped with light sensors (photo-transistor), electromagnetic field detectors, a small laser, and a bi-colored LED(red/blue). the LED flashes in response to ambient light levels, and produces a color (mix of red and blue) based on the mix of positive and negative charge in the electromagnetic field within the gallery. the devices can communicate with each other and will flash synchronously if visitors point the laser of one device (the gold component on the left, front of the device) at the IR receiver (the clear plastic head at the center of the aluminum disc on the right, front) of another. it is possible for a group of eight visitors to make all eight flash synchronously.</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in">***the piece was close to the Balloon Chamber so there was always an active electromagnetic field around the piece.</p> <p style="margin-bottom: 0in"> <p style="margin-bottom: 0in"><strong>howto:</strong> gently lift the device off the table. at the bottom of the object there is a black on/off button. the emf detector will cause the LED to change colors, blue=negative charge, red=positive charge. when you are done with the device, please turn it off and place back its hole on the table. please don’t manipulate the laser or aluminum discs on the exterior of the devices.</p> <p style="margin-bottom: 0in"> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-08-01T03:40:22+00:00">August 1, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/artworks/" rel="category tag">artworks</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-49 --> <article id="post-48" class="post-48 post type-post status-publish format-standard hentry category-artworks entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/joy-of-a-toy-balloon-chamber-variation/">joy of a toy: balloon chamber variation.</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p><meta http-equiv="CONTENT-TYPE" content="text/html; charset=utf-8" /><title /><meta name="GENERATOR" content="OpenOffice.org 2.0 (Linux)" /><meta name="AUTHOR" content="rouvelle" /><meta name="CREATED" content="20070725;21142100" /><meta name="CHANGEDBY" content="rouvelle" /><meta name="CHANGED" content="20070728;10334800" /> </p> <style type="text/css"> <!-- @page { size: 8.5in 11in; margin: 0.79in } P { margin-bottom: 0.08in } --> </style> <p style="margin-bottom: 0in">Susan Joyce, whose gallery, Fringe Exhibitions, is showing my <em>balloon chamber</em>, which i wrote about in the previous post, told me that the neighborhood kids, who treated the work like a ball pit at a family restaurant during the opening (look at the video #2 from the previous post for an example), have been playing another game lately. the game involves a group of kids entering the chamber and trying NOT to touch, or be touched, by any of the balloons. i love this idea.</p> <p style="margin-bottom: 0in">if you’ve ever spent some time helium filled mylar balloons you know that they tend to follow air currents and people tend to leave significant air-wakes so that the balloons tend to follow moving bodies – add to this that the chamber is well stocked with balloons that are being stirred by an array of oscillating fans and rising and falling onto a bunch of large, latex balloons and you have an event that i would really like to experience.</p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-08-01T03:20:29+00:00">August 1, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/artworks/" rel="category tag">artworks</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-48 --> <article id="post-47" class="post-47 post type-post status-publish format-standard hentry category-artworks entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/%e2%80%a6that-floaty-feeling%e2%80%a6-balloon-chamber/">…that floaty feeling…: Balloon chamber</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p>Some video and notes from a current show at Fringe Exhibitions in LA entitled: <em>‘…that floaty feeling…’</em> (press release in previous post). The show features three recent works. This post will cover one of the pieces entitled: <em>balloon chamber</em>. (three videos below).</p> <p><strong>DESCRIPTION:</strong><br /> A 14x14x14 netted (fish netting) chamber of Mylar and latex balloons. Mylars are approximately 51” in length and 18” wide, and are filled with helium/sulfur hexafluoride (four times heavier than air)/air/bells/pingpong balls/seeds. The Mylars are intended to hover and respond by moving and making sound in response to air movement in the gallery. Their shape, gas content, and solid objects inside of them create interesting movements. Pink, 41″ latex balloons are filled with air/bells/seeds/superballs, and other sound emitting objects. The floor is carpeted (was supposed to include water beds but water conservation regulations in LA forbade that). Four clusters of 100 Blue LEDs that pulse in response to changes in the emf within the room are on the upper corners of the netting. Custom charge detection circuitry control the LED pulsations.</p> <p><strong>HOWTO:</strong><br /> Visitors are requested to remove their shoes, enter the netted chamber, and push the large latex balloons to make space for themselves. Touching the latex causes them to brush against the carpet and build up static charge. The Mylars are constantly stirred by oscillating fans and pedestrian movement that cause them to brush up against the latex, pick up charge, and then generate change in the overhead blue LED clusters flashing patterns when they get close to them (detail video below). Clusters of Blue LEDs each have emf sensors that respond to changes in charge.</p> <p><strong>MATERIALS:</strong><br /> Carpet, fish netting,balloons: latex and mylar, oscillating fans, clusters of blue leds, emf detector/circuitry to control the pulsations of the clusters of leds, bells, shells, superballs, plastic eggs, ping-pong balls,seeds, beans, helium, air, oscillating fans.</p> <p><strong>EMF/CHARGE DETECTION/LEDS:</strong><br /> Four clusters of 100 blue LEDs each are outfitted with emf (pos/neg charge detectors). The floor is carpeted. Visitors are asked to remove their shoes and must move the latex balloons around to make space for themselves. Latex is an insulator. Charge builds up on the latex. Mylar is a conductor. Mylar balloons bump the latex and visitors and float up toward the Blue LEDs, affecting the pos/neg charge, and altering the flashing patterns of the LEDs (detail video below).</p> <p><strong>SOUND:</strong><br /> Balloons are filled with shells, superballs, bells, plastic eggs, ping-pong balls, seeds, and beans. When they move they rattle and thunder.</p> <p><strong>a few people in the chamber:</strong><br /> [youtube]http://www.youtube.com/watch?v=3xcHHFlaXmI[/youtube]</p> <p><strong>the opening, no sound:</strong><br /> [youtube]http://www.youtube.com/watch?v=NBhPpZz28GE[/youtube]<strong>emf/balloon/LED detail (sped up to illustrate effect):</strong><br /> [youtube]http://www.youtube.com/watch?v=RJJBibDY80E[/youtube]Some notes on the balloon chamber I made the day after the opening>><br /> <em><br /> should have called the middle piece ‘fish don’t have architecture’. the heavy latex balloons function as discrete objects and people who lie on the floor can use them to make temporary spaces/shelters to gaze up and interact with the floating mylar balloons.</em></p> <p><em>Visitors seem to enter the space and pick up the latex first; throwing them around – it seems that if there are others in the space visitors spend most of their time bashing each other, then, if<br /> they spend more time in the room, they settle onto the floor, repositioning the latex balloons as ‘architectural elements’ – using the latex as dividers as mentioned above, but they can sense others doing the same – the tranquility of the piece stifles talking, but, as any action in the space resonates through the balloons (the space is full of balloons so any movement requires moving a balloon, we have non-verbal interactions with visitors trying to make their own spaces with the communal latex. one can also close one’s eyes, and feel/hear the activities within the chamber – as the balloons make sounds when they move, and as the latex carry quite a bit of static charge, and the Mylars, filled with helium, produce a curious effect on the ears – hard to explain but if you’ve been around large helium balloons you’ve probably noticed that volumes of helium, when close to the ears, seem to produce a change in pressure that lasts for a few minutes.. my point is that visitors expressed that they could appreciate the piece with their eyes open or closed.</em></p> <p><em>the opening was a zoo – there is video of it below, without sound…. i was so lucky to meet amy caterina in the space without anyone else the next morning so we could experience the more complex elements of the work – which i didn’t mention to her, and, frankly, given the tumult of the opening thought were impossible to experience, but she found them herself, without my prompting. she mentioned that when she first entered the gallery she found the ‘intimacy’ of the piece intimidating – she admitted that at first she wanted to avoid it. When she entered the piece she spent a moment or two thrashing, but quickly settled onto the floor and spent her time exploring the work quietly. She spent almost an hour in the room while I was doing some other things, quietly, in the gallery. we talked about it afterwards and her experience made me think that the piece has succeeded in creating a delicate, interactive, slow-paced, collaborative ‘event-space’. Amy said, and her actions proved, that if visitors spent time in the chamber the piece unfolded in many interesting ways. There were many elements to explore – visual, aural, haptic, etc. thanks amy.</em></p> <p><em>I recall meeting with some early visitors to the show who didn’t recognize the piece as interactive, which was interesting. The elements of the work were intentionally simple, but I was after a complex result with carefully chosen elements designed to interact with each other and with visitors to support the intention of the piece (described above), without focusing on any specific technology. There was custom circuitry controlling the lights by reading emf that was affected by the movement of static charge from carpet to latex to mylar, but I didn’t make those elements the subject of the piece, because I had something else I wanted to create. The reports from the gallery are, thus far, that the piece is being received well, and I’m glad to hear it.<br /> </em></p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-07-26T04:09:51+00:00">July 26, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/artworks/" rel="category tag">artworks</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-47 --> <article id="post-38" class="post-38 post type-post status-publish format-standard hentry category-artworks entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/that-floaty-feeling-7-7-7/">…that floaty feeling: 7-7-7…</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p>Press Release for upcoming show</p> <p>FOR IMMEDIATE RELEASE<br /> 21 June 2007</p> <p>FRINGE EXHIBITIONS<br /> 504 Chung King ct<br /> Los Angeles 90012<br /> www.fringexhibitions.com</p> <p>JAMES ROUVELLE<br /> That Floaty Feeling</p> <p>Exhibition Dates: July 7 – August 4, 2007</p> <p>Opening Reception: Saturday, July 7 from 6 – 8 PM</p> <p>Gallery Hours: Thursday – Saturday, 12 – 6 PM<br /> and by appointment</p> <p>The summer show at Fringe features three new<br /> interactive projects by James Rouvelle.</p> <p>Inspired by a friends’ casual comment regarding a<br /> thimble cactus at a botanical garden, “underwater,<br /> that plant would be a fish”, Rouvelle’s recent<br /> writings and projects address what he experiences as a<br /> paradox of human life on land:  like our undersea<br /> relatives we are immersed and interconnected within a<br /> medium, yet the comparatively thinner medium of air,<br /> coupled with our own unique physiology, fosters the<br /> illusion that we live in a world of discrete, randomly<br /> intersecting particles. In his first solo show in Los<br /> Angeles, the artist presents three new works intended<br /> to model a thickened, collective medium. These<br /> interactive works employ a variety of devices<br /> including phototransistors, lasers, electromagnetic<br /> field detectors, LED lights, Mylar and Latex inflatables,<br /> Fishing nets, fans, and a visitor controllable time machine.</p> <p>For more information, contact Fringe Exhibitions at<br /> 213 613 0160.</p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-06-26T13:57:32+00:00">June 26, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/artworks/" rel="category tag">artworks</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-38 --> <article id="post-143" class="post-143 post type-post status-publish format-standard hentry category-uncategorized entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/the-past-isnt-2/">the past isn’t…</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p>the discovery of a 140 year old supernova reminds me of <a href="http://www.platonia.com">julian barbour’s</a> remark (can’t recall where i heard it…) concerning so-called “deep” time – the age of the earth, for example. to paraphrase he said that we know how “old” the earth is by studying rocks that exist right now.</p> <p>this image, btw, is a careful composite of a 1985 radio image (blue), with a 2007 x-ray image (red) of the ‘same’ event/location. </p> <p><img decoding="async" src="https://rouvelle.com/images/supernova.jpg" alt="supernova" /></p> <p><a href="http://www.sciam.com/article.cfm?id=remains-of-140-year-old-supernova-discovered">more information</a></p> <p>“<em>the past isn’t even past</em>” Faulkner</p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-05-29T17:12:43+00:00">May 29, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/uncategorized/" rel="category tag">Uncategorized</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-143 --> <article id="post-37" class="post-37 post type-post status-publish format-standard hentry category-uncategorized entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/design-as-a-problematizing-action-or/">design as a problematizing action, or</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">..a methodology for othering ourselves from the present?</span></p> <p>Herb Simon, in <em>Sciences of the Artificial</em>, describes design as ‘concerned with how things ought to be – with devising artifacts to attain goals.’ Professionals, according to Simon, work to ‘transform an existing state of affairs, a problem, into a preferred state, a solution.’</p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">Design, in any field, seeks to problematize a given moment by identifying a specific problem, and providing an artifact (an object) to solve that problem. Think about a button on a website, and all that goes into creating an atmosphere that leads one to click on that button, or a pill prescribed by a doctor, or any action undertaken to resolve a specific problem by taking a specific action that promises a resolution in the future. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">The artifacts of design identify a specific problem by, essentially, contributing to an atmosphere for that specific problem to become prominent. The resolution of that specific problem suggested by the artifact (click the button, take the pill, etc.) seems to lead, inevitably, to another problem in another aspect of one’s experience, and so on. We seem to be temporally distending our lives into the past and future as we attempt to resolve the various problems we encounter at each moment, using the present as a weigh station. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">Think about how often your sense of need is being stimulated, and how that sense of need seems to be only temporarily quelled by whatever actions to take.</span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">In short, and for me, <em>now</em>, design seems to be a methodology for ‘othering’ ourselves from the present, and focusing our decisions within any moment towards a goal that exists in the future: design is based on an idea of ‘<em>how things ought to be</em>’, and is different from an exploration of ‘<em>how things are</em>’. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><em><span style="font-size: 10pt">How things ought to be</span></em><span style="font-size: 10pt"> is a point of view that implies, and relies on, a temporal form composed of the past, present, and future, where the past leads to and influences the present, and where the present leads to and influences the future, exclusively.</span></p> <p class="MsoNormal" style="margin-top: 12pt"><em><span style="font-size: 10pt">How things ought to be</span></em><span style="font-size: 10pt"> requires clearly defined needs, and clearly defined goals, and seems to produce an individuated state of being. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">Parenthetically, <em>How things ought to be</em>, as social policy, produces a group rife with frustrated members, whose attempts at resolving their needs simply produces more need, elsewhere. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><em><span style="font-size: 10pt">How things are</span></em><span style="font-size: 10pt">, on the other hand, requires close attention to the present, and a practice of integration of, and empathy for others’ experience – as others’ expression of their experience are essential aspects and observations of the shared space of now. The ‘goal’ of any methodology that explores the present is an increase in empathy first, and then an opportunity to consider the resulting integration second. As soon as one begins to judge, rather than work to integrate with, either one’s own or another’s expressions then one begins to see things within the context of <em>how they ought to be</em>. The practice of integration, evolving from a careful application of empathy, will inevitably produce unexpected results, but if one takes empathy as the primary method then the concrete results and goals are secondary. Think about it. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">I’m reminded of a friend of mine who, in response to a dialectic argument, is fond of saying, usually at the moment of clearest polarity, “isn’t it both?”</span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">To me, art making has the potential to be part and model of such a practice of integration (my previous post is concerned with this). In speaking with an artist friend who recently thought about switching galleries to help her sell more work, and then, after a frustrating meeting with the more ambitious gallerist, my friend realized that making work for pay wasn’t for her. She sells quite a bit of work, actually, but chooses not to aggressively market herself. I realized that when art becomes professional and its goals can be clearly defined and methodologies can be developed to produce repeatable results (tools and methodologies can be developed to produce specific results within specific timeframes, etc…) then the art has become an aspect of design. And that is fine, but, for me, the two exemplify differing and essential qualities of the human experience.</span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">So, is it both? Yes, but I feel that many of us have tipped the balance, significantly, toward design (the presence of digital technology, with its emphasis on information and repeatability has accelerated this) and the result is a peculiar rush towards integration implied by the ideas of the www, but deployed via the methods of design – so that each gesture of integration is predicated on problemization, and each resulting connection inevitably becomes the next problem, and so on, so that <em>here </em>becomes an interface to elsewhere. </span></p> <p class="MsoNormal" style="margin-top: 12pt"><span style="font-size: 10pt">This reliance on the methodologies of design at this time, as we seem to be in a particularly integrative phase of cultural development, seems to be producing some odd cultural formations, as well as frustrating many integrative gestures, while slowing down our evolution towards a form that may be significantly different than our recent past. In order to bloom, this evolving form may require us to let go of the railing, surrender our dependence on clearly defined goals, and adopt a practice of empathy and integration that will permit us to move on collectively.</span></p> <p><span style="font-size: 10pt"><span /></span></p> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-04-09T00:04:34+00:00">April 9, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/uncategorized/" rel="category tag">Uncategorized</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-37 --> <article id="post-36" class="post-36 post type-post status-publish format-standard hentry category-uncategorized entry"> <header class="entry-header"> <h2 class="entry-title default-max-width"><a href="https://rouvelle.com/intuition-and-instinct-as-valid-empirical-observations/">intuition and instinct as valid empirical observations</a></h2> </header><!-- .entry-header --> <div class="entry-content"> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal"><strong>C.S. Peirce</strong> (1839-1914)</p> <p class="MsoNormal"><em>“..consider what effects, which might conceivably have practical bearings, we conceive the object of our conception to have. Then, our conception of these effects is the whole of our conception of the objects”</em> from C.S. Peirce, <em><u>How to Make Our Ideas Clear</u></em></p> <p class="MsoNormal"><em><u><!--[if !supportEmptyParas]--> <!--[endif]--></u></em></p> <p class="MsoNormal"><em>“…he had in mind that a meaningful conception must have some experiential ‘cash value’, capable of being specified as some sort of collection of possible empirical observations under specifiable conditions. Peirce insisted that the entire meaning of a meaningful conception consisted in the totality of such specifications of possible observations.”</em> R. Burch, Charles Sanders Peirce, in Edward N. Zalta (ed.) <em><u>The Standard Encyclopedia of Philosophy (</u></em><u>Fall 2001 Edition).</u></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">The following thoughts come to mind:</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">Evolution has certain <em>mechanical</em> aspects described as adaptation and change manifest, observed, and studied in the form of physical attributes of a given subject (a species is the most common, but it seems that other phenomena may also be subject to evolution: i.e., the laws of physics). It seems to me that another aspect, or index of our evolution can be understood as the work we do collectively to understand the aspects of our experience that are not visible in the same way skeletal remains are visible.</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">As we try to develop <em>meaningful conceptions, </em>or increasingly accurate models of our experience perhaps we must learn to accept intuition and instinct as valid, empirical observations (in addition to other empirical observations). Yes, they are understood as <em>subjective</em>, and don’t perform well in the abstract world of the lab, but the issue may be that they are in fact <em>collective</em> and are an index of the here and now distributed among a group that, to be understood, require a method for expression and sharing, and this method will differ from the methods of fact based inquiry, but, to me, it is essential that we integrate this aspect of our experience. Presently we seem to prefer to simply dismiss them as subjective noise at best, and, at worst, to stigmatize them.</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">What is needed, I think, is a practice that incorporates the unknown <em>as unknown</em> (the intuited, instinctual, etc. as such, as opposed to converting them to facts) into any <em>empiric understanding</em> – in other words every meaningful conception doesn’t have to be based entirely on <em>fact</em>.</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">All of us understand the world via some mixture of the known (fact) and the unknown (intuition). We need to work to create models of our experience that are more accurate in their modeling of <em>our actual experience</em> – as opposed to systems which operate on <em>how we think things should be</em>. It seems that for some, the unknown is something that is proportionally, and perhaps rightfully, eliminated with the advance of factual information. The unknown is somehow the enemy of the known. I don’t understand that at all.</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">The unknown is an aspect of the known – one doesn’t exist without the other, and when we marginalize the unknown, when we ‘other’ it from our discourse we unwittingly limit our potential for deeper, more accurate and useful knowledge. I would argue that when we claim that we’ve figured it all out we’ve probably figured out a way to more successfully narrow our focus and ignore more. Our current culture of expertism seems to have stigmatized the unknown. How often do you hear a professional in any field, while discussing some aspect within their purview, admit to not knowing something or simply being wrong? How often have you spoken to someone traumatized into a radically: narrow, conservative, and homogenous lifestyle by the specter of the eternal faux pas in the omnipresent, deeply archived, and imminently searchable www? I had a long talk with an eloquent student on the train last week who expressed such concerns, “it’s not worth the risk of doing anything that might come back to haunt you, because everything you do is recorded, literally.” Whoa!</p> <p class="MsoNormal"> <p class="MsoNormal">I wonder if we haven’t ritualized our marginalization of the unknown in practices like the lottery. Some casual research on my part suggests that the results seem impervious to intuition, instinct, and hunch – and seem very much to be the product of ‘pure’ luck, or, in other words, randomness – which is to say when the machine happens to spit out the same numbers you’ve managed to spit out, you win, and often the winners admit to either using the same set of numbers repeatedly, or using the quickpick option. Trying to intuit your way to the lotto jackpot, in other words, seems to be ineffective and teaches, I think, that playing hunches is for fools – or, at least, not how the pros do it. I should add that it may be the case that on smaller wagers (sports, for example) instinct and hunch may be effective – it seems though, that at the larger, lotto/mega-millions level one’s hunch seems not to work. To me, this indicates that we have figured out a system that, <em>at specific scales</em>, seems essentially immune to meaningful, instinctual observation. I wrote, ‘<em>at specific scales</em>’ – the systems, like the lottery, can be observed meaningfully and intuitively, but we choose to prize (literally) the scale that we can’t <em>feel. </em></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">The intuitive, unknown, element of the lottery is its’ meaning, significance, message, affect, in general – its’ overall quality, or <em>suchness </em>within our experience at large. The “what does it tell us about our society and each other?” question that is an ongoing impetus for interaction and discussion, and doesn’t resolve to a specific set of numbers. The lesson of the lottery, perhaps, is that hunch based conjectures don’t have cash or <em>real </em>value, and as such, <em>don’t work</em>, so let the machine do it…. At least that’s what I’m wondering about today, and with our computer mediated culture I’m concerned that we’re becoming a bunch of fast-paced bottom-liners increasingly disinterested in what can’t be clearly: defined, repeated, transmitted, and used.</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <p class="MsoNormal">But we need our instincts and intuition, they are an essential aspect of who and what we are.</p> <p class="MsoNormal">As I just heard someone say over the radio earlier today in regard to the Iraq war, “anybody can understand with facts, this war was sold to us via facts that turned out to be wrong, and we all bought them. Where are the people with good instincts, and why haven’t we been listening to them lately?”</p> <p class="MsoNormal"><!--[if !supportEmptyParas]--> <!--[endif]--></p> <pre> <p class="MsoNormal"></p> </pre> </div><!-- .entry-content --> <footer class="entry-footer default-max-width"> <span class="posted-on">Published <time class="entry-date published updated" datetime="2007-04-06T13:45:42+00:00">April 6, 2007</time></span><div class="post-taxonomies"><span class="cat-links">Categorized as <a href="https://rouvelle.com/category/uncategorized/" rel="category tag">Uncategorized</a> </span></div> </footer><!-- .entry-footer --> </article><!-- #post-36 --> <nav class="navigation pagination" aria-label="Posts"> <h2 class="screen-reader-text">Posts navigation</h2> <div class="nav-links"><a class="prev page-numbers" href="https://rouvelle.com/page/18/"><svg class="svg-icon" width="24" height="24" aria-hidden="true" role="img" focusable="false" viewBox="0 0 24 24" fill="none" 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