Metamorphosis

Michel Serres, ‘Metamorphosis’, pp.3-31, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.

p.4

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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Insects’ Meals

Michel Serres, ‘Insects’ Meals’, pp.91-93, in:
Serres, M., Schehr, L.R., 1982. The parasite. Johns Hopkins University Press, Baltimore.

p.91

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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Fingers

Vilém Flusser, ‘Fingers’, pp.57-63, in:
Flusser, V., Zielinski, S., Baitello, N., Novaes, R.M., 2013 [1979]. Natural:mind. Univocal, Minneapolis, MN.

p.57

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.

p.58

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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Between Bodies and Machines

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.

p.105

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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Choreutics

Laban, R. (1966 [1939] ). Choreutics. Annotated and edited by L. Ullmann. London: MacDonald and Evans

Preface

p.vii

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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Towards a philosophy instigated by photography

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.

p.9

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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In a Minor Key

Erin Manning, ‘In a Minor Key’, pp.1-25, in:
Manning, E., 2016. The Minor Gesture: thought in the act. Duke University Press, Durham.
p.1

The minor gesture, allied to Gilles Deleuze and Félix Guattari’s concept of the minor, is the gestural force that opens experience to its potential variation.

A minor key is always interlaced with major keys—the minor works the major from within.

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Retentional Economy

Bernard Steigler, ‘Retentional Economy’, pp.8-13, in:
Stiegler, B., Ross, D., 2010. For a new critique of political economy. Polity, Cambridge.
p.8

In 2001 I argued […] for a new critique: for a critique addressing the question of tertiary retention, that is, the question of mnemotechnics – and in more general terms addressing the question of technics which, qua materialization of experience, always constitutes a spatialization of the time of consciousness beyond consciousness and. therefore, constitutes an unconsciousness, if not the unconscious.

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Like a Thought

‘Introduction: Like a Thought’, p.xiii-xxxix, in:
Massumi, Brian. (Ed.), 2002. A shock to thought: expression after Deleuze and Guattari. Routledge, London ; New York.
p.xiii
Expression conjures up the image of a self-governing, reflective individual whose inner life can be conveyed at will to a public composed of similarly sovereign individuals – rational atoms of human experience in voluntary segregation, usefully sharing thoughts and experiences. In a word: ‘communication’.
Communicational models of expression share many assumptions.
All of these assumptions have been severely tested by structuralist, poststructuralist, postmodern, postpostmodern thought. Communication has long since fallen on hard times and with it, expression.

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A Call to Arms

‘A Call to Arms’, pp.173-204, in:

Ahmed, Sara., 2014. Willful subjects. Duke University Press, Durham.

p.174

[…] 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.

p.175

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