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From Apache Wiki <>
Subject [Struts Wiki] Update of "ongoing text" by ongoing text
Date Wed, 22 Feb 2006 13:26:50 GMT
Dear Wiki user,

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The following page has been changed by ongoing text:

New page:
<p><br /><br />
<font size="4">[ </font>
What could be the problem with our encounter on a text?<br />It could be too fix; it
could be exactly what we don&#8217;t want our project to become. Let&#8217;s avoid
the division in Concept and Process and let&#8217;s edit it as a wave of thoughts between
you and me. We already have so much in our interstice. Let&#8217;s just show it as a flux
or a flow.<br />That&#8217;s the only way not to loose all the precious inputs we
gave the project. We arrived from different ways and keep the diversity in order to enrich
the organic structure and make our reciprocal activation not a simply death end.<br />Let&#8217;s
edit a text divided just by spaces and let&#8217;s forget the titles. Let&#8217;s
edit a text that progress in all the interesting direction that we have already activated.<br
/>The text is an object and the medium of writing has implications on how we think and
on how ideas are produced. In order to this the text is one of the objects produced but not
the only or fina
 l one. In order to develop what and how we think we have to find different approaches to
every point we make. In this case the text is an ongoing dialogue, it is a process that not
only goes forwards but also backwards, to the left and to the right, up and down and somewhere
else. There will be questions and some answers, but also not fully expressed ideas. These
aspects can continually be rewritten, completed or even erased
<font size="4"> ]</font></p>

<p><br /><font size="4">[ </font>
I&#8217;m writing on confusion as a higher level of sensibility, Edward Lorenz and the
Butterfly Effect
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
There is a postcard with a still from the Wim Wender&#8217;s movie Alice in the Cities.
On an unclear scene it is possible to detect the blond hair and the hint of a child&#8217;s
body on the left side of the picture and a shadowed man&#8217;s figure on the right.<br
/>I keep thinking about that space, that in between Rudiger Vogler and Yella Rottlander
&#8211; the main character of the movie as well as the two entities on the postcards.
With its absence, its endless possibilities of been fulfilled and its consequent productive
confusion, this space simply embodies all the meaning of that human relation and, consequently,
of the whole movie.<br />It is on that unclear but still meaningful interstice that
the concept of confusion as an extreme disorder seams to change value and reach a complex
and productive signification. It&#8217;s in this alternative place that confusion could
be seen as higher level of sensibility
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
I&#8217;m writing a text on art as object in relation to history of art and in contrast
with the idea of a window on the world
<font size="4"> ]</font></p>

<p align="left"><br />
<font size="4">[ </font>
&#8220;The text doesn&#8217;t gloss the images, which do not illustrate the text.
For me, each has been no more than the onset of a kind of visual uncertainty, analogous to
that loss of meaning Zen calls a satori. Text and images, interlacing, seek to ensure the
circulation and exchange of those signifiers: body, face, writing; and in than to read the
retreat of signs&#8221;.<br />Those are the first words of Empire of Signs by Roland
Bathes book that embodies my interest for confusion as a higher level of sensibility and that
brings me to the idea of interstice.<br />It&#8217;s curious that it is on the idea
of interstice that we first have activated our communal interests. Maybe its better to say
in the idea of interstice and with this shift the interstice creates that dangerous zone where
things happen, where thoughts are produced as results of precious confusion.<br />Confusion
gets form by activating all the different points of interest; it creates a flow that is impossi
 ble to detect and knows now end. <br />We meet ourselves in that interstice. Your idea
of space and place, of time and different perception, brings you to the possibility of an
interstice as a meaningful in between; it creates that alternative place where confusion becomes
an experimental process and brings us &#8211; or in general the subject &#8211; to
work on a dangerous zone where struggle and coercion are incorporated. This is a zone of critical
thoughts and artistic production.<br />Why Barthes and his book about Japan and sign-aucracy?<br
/>In Barthes&#8217; book confusion is directly linked with the Japanese concept of
MU &#8211; emptiness &#8211; and brings the reader to the idea of interstice as a
productive and critical place. At this point we reach our independence from the thoughts of
Deleuze and Guattari because in Barthes book we feel how confusion is directly related with
a shift from the western mechanical tradition &#8211; we are all products of Descartes
 #8211; to an eastern organic tradition. <br />In the chapter Without Words, Barthes
explains in one page how he felt in the same interstice where we meet each other<br />&#8216;The
unknown language, of which I nonetheless grasps the respiration, the emotive aeration, in
a word the pure significance, form around me, as I move, a fait of vertigo, sweeping me into
this artificial emptiness, which is consummated only for me: I live in the interstice, delivered
from any fulfilled meaning&#8217;<br />It&#8217;s curious how he explains his
first contact with the Japanese&#8217; language in everyday life. The confusion brought
by an unknown language, unknown sign and unknown rumours, together with the efforts to understand
the language throw the person &#8211; a stranger without any knowledge of the idiom &#8211;
in an alternative place: it&#8217;s in that alternative place that we can talk about a
higher level of sensibility. Confusion is something that puts the person inside the i
 n between, in the interstice where everything happens and where a productive dangerous zones
is created
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
I&#8217;m writing on the Centre of Tokyo as a supreme interstice
<font size="4"> ]</font></p>

<p align="center"><br /><font size="4">[</font> There is a poetry
from Fernando Pessoa namely The King of Interstice that could be seen as a strong reference
for our project.:<br />There lived, I know not when, never perhaps &#8211;<br
/>But the fact is that he lived &#8211; an unknown king<br />Whose kingdom was
the strange kingdom of Interstice<br />He was lord of what is twixt thing and thing,<br
/>Of interbeings, of that part of us<br />That lies between our waking and our sleep,<br
/>Between our silence and our speech, between<br />Us and the consciousness of us;
and thus<br />A strange mute kingdom did that weird king keep<br />Sequestered
from our thought of time and space.<br />Those supreme purposes that never reach<br
/>The deed &#8211; between them and the deed undone<br />He rules, uncrowned.
He is the mystery which<br />Is between eyes and sight, nor blind nor seeing.<br
/>Himself is never ended nor begun,<br />Above is own void presence empty shelf.<br
/>All he 
 is but a chasm in his own being,<br />The lidless box holding not-being&#8217;s
no-pelf.<br />All think that he is God, except himself.<br />That kingdom is the
field of creation, the alternative place where it&#8217;s possible to detect a dangerous
zone of thoughts.<br />That kingdom is the place of interests of an organic structure,
is one of the hubs, one of the meanings&#8217; connector <font size="4">]</font></p>

<p><br />
<font size="4">[ </font>
I&#8217;m writing a text on Hakim Bey and his idea of the no-go zone<br />Hakim
Bey is an avant-garde poet-philosopher whose work departs from the academic tradition, rediscovering
mystery and magic as means of re-conquering joy of life and defeating boredom.<br />About
chaos:<br />&#8216;CHAOS NEVER DIED. Primordial uncared block, sole worshipful monster,
inert &amp; spontaneous, more ultraviolet than any mythology (like the shadows before
Babylon), the original undifferentiated oneness-of-being still radiates serene as the black
pennants of Assassins, random &amp; perpetually intoxicated.<br />Chaos comes before
all principles of order &amp; entropy, it's neither a god nor a maggot, its idiotic desires
encompass &amp; define every possible choreography, all meaningless aethers &amp;
phlogistons: its masks are crystallizations of its own facelessness, like clouds. Everything
in nature is perfectly real including consciousness, there's absolutely nothing to worry about.
Not o
 nly have the chains of the Law been broken, they never existed; demons never guarded the
stars, the Empire never got started, Eros never grew a beard&#8217;
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
I&#8217;m writing a text on the idea of laboratory related to curating showing the differences
within organisations
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
The project considered as a tautology brings us to Wittgenstein.<br />For Wittgenstein
tautology is a key point to understand the structure of language and as a consequence the
structure of reality. Tautology could be considered as an interstice: it&#8217;s exactly
nothing and everything at the same time, emptiness becomes fullness and the way around. As
Wittgenstein says: &#8216;tautology and contradiction are the limited cases of a language
[&#8230;] of the combination of senses that form reality&#8217;.<br />The general
form of a proposition reveals the relation between a word and its referent (when there is
a direct link between the understanding of a proposition and the understanding of reality).
A tautology, which is different from a proposition, is true under every single condition,
it doesn&#8217;t explain anything and so it reveals emptiness. It forms the exception
by which the rule becomes possible. The shift from highlighting the rule to highlighting the
 reveals also a shift from a mechanical to an organic approach: the rule is formed by the
exception and the vice verso. On the one hand the mechanical paradigm defines the world by
defining the rule, it explains the world causational. On the other the organic approach shows
mutual relations, without rule or exception.<br />For Wittgenstein tautology is a complete
emptiness that at the same time is necessary to build an atomic and philosophical structure.<br
/>When we take the idea of Tautology and emptiness to its extreme consequent then the interstice
or meaningful emptiness stands at the basis of the understanding of reality and reality itself.
According to this the emptiness can be considered as an alternative place where confusion
could be seen as a higher level of sensibility and where production takes place. Ones erased
the atomic approach the interstice remains. It is the place of creation and meaning
<font size="4"> ]</font></p>

<p><br />
<font size="4">[ </font>
I&#8217;m writing on the loss of control related to the position of the curator
<font size="4"> ]</font>

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