Michel Serres, ‘Metamorphosis’, pp.3-31, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.
Anxiety, of course, occurs before the climb, just as fear returns after; but during it, the body progresses, on the rock face, as though it were protected. But, leaving aside guides, pitons, ropes and partners, by what, by whom?
Stretch out your arms and legs: your twenty fingers and toes attain in space a large rectangular frame or a circle – your starfish, octopus or gibbon’s maximal hold on the world. Your active force and sensibility radiate at the extreme points of this figure.
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Michel Serres, ‘Insects’ Meals’, pp.91-93, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.
The ant does not have as its dinner guest a flute-player or a folk-singer, whose voices constantly fill space. Thus, the ant excludes the parasite.
The dismissal of the parasite does not cost a thing. Chasing out the hare, on the contrary, costs the master, that is to say, results in servitude; it is dearly bought.
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Vilém Flusser, ‘Fingers’, pp.57-63, in:
Flusser, V., Zielinski, S., Baitello, N., Novaes, R.M., 2013 . Natural:mind. Univocal, Minneapolis, MN.
I am sitting on a chair. The chair is a product of Western civilization and if it were to be analysed it would reveal the history of the West.
The juxtaposition “chair – desk” is a characteristic structure of particular situations of my culture.
This is a slight paleo-technological writing instrument (a product of the beginning of the 20th century). The machine has keys inscribed with letters of the Latin alphabet.
My fingers hit the keys in a particular order. This order is therefore determined by the specific order of such a language.
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Eve Forrest, ‘Between Bodies and Machines: Photographers with Cameras, Photographers on Computers’, pp.105-122, in:
Rubenstein, D., Golding, J., Fisher, A., 2013. On the verge of photography: imaging beyond representation. Article Press, Birmingham, UK.
This discussion has two aims. The first is to move discourse on photography away from the dominant representational framework that often ignores the doings of the photographer.
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Laban, R. (1966  ). Choreutics. Annotated and edited by L. Ullmann. London: MacDonald and Evans
“Choreosophia” – an ancient Greek word, from choros, meaning circle, and sophia, meaning knowledge of wisdom – is the nearest term I have discovered with which to express the essential ideas of this book.
The wisdom of circles is as old as the hills. It is founded on a conception of life and becoming aware of it which has its roots in magic and which was shared by peoples in early stages of civilisation.
The original conviction of the extraordinary role which the circle plays in harmony, life, and even in the whole of existence, survived the many changes in mentality, mood and feeling which abound in history.
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Henri van Lier, ‘Towards a philosophy instigated by photography’, pp.9-10, in:
Van Lier, H., 2007. Philosophy of photography, New ed. ed, Lieven Gevaert series. Univ. Press, Leuven.
A philosophy of photography could be taken to mean the act of philosophizing on the subject of photography.
One could enquire into its links with perception, imagination, nature, substance, essence, freedom and consciousness. The danger of such an approach is the projection onto photography of concepts created long before photography’s emergence, concepts which might prove to be ill-suited to it.
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‘A Call to Arms’, pp.173-204, in:
Ahmed, Sara., 2014. Willful subjects. Duke University Press, Durham.
[…] Gramsci (1975) is calling for us to be willing something actively and with intelligence or though, asking us to orientate ourselves toward the future we hope to bring about, to work with others toward an actualisation of a possibility, of concrete initiatives.
Wilfulness tends to imply a articular kind of subject, one that has intentions and knows her intentions.
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