THE GEOMETRIC FORMANT [formant: the spectral peaks of the sound spectrum |P(f)|'of the voice-Wikipedia]
This is that Euclidean space which philosophical thought has treated as “absolute”, and hence a space (or representation of space) long used as a space of reference. Euclidean space is defined by its “isotopy” (or homogeneity), a property which guarantees its social and political utility. The reduction to this homogeneous Euclidean space, first of nature’s space, then of all social space, has conferred a redoubtable power upon it. All the more so since that initial reduction leads easily to another –namely, the reduction of three-dimensional realities to two dimensions (for example, a plan, a blank sheer of paper, something drawn on that paper, a map, or any kind of graphic representation or projection).
The Production of Space, Henri Lefebvre
PARALLAX GAP MODEL - C
The difference between subject and object can also be rendered as the difference between the two corresponding verbs, to subject (submit) oneself and to object (protest, oppose, make an obstacle). The subject's elementary, founding, gesture is to subject itself - voluntarily, of course: as both Wagner and Nietzsche, the two great opponents, were well aware of, the highest act of freedom is the display of amor fati, the act of freely assuming what is otherwise necessary. If, then, the subject's activity is, at its most fundamental, the activity of submitting oneself to the inevitable, the fundamental mode of object's passivity, of its passive presence, is that which moves, annoys, disturbs, traumatizes us (subjects): the object is at its most radical that which objects, that which disturbs the smooth run of things. 1 The paradox is thus that the roles are reversed (with regard to the standard notion of the active subject working on the passive object): the subject is defined by a fundamental passivity, and it is the object from which movement comes, i.e., which does the tickling. But, again, WHICH is this object? The answer is: the parallax object.
The common definition of parallax is: the apparent displacement of an object (the shift of its position against a background), caused by a change in observational position that provides a new line of sight. The philosophical twist to be added, of course, is that the observed difference is not simply "subjective," due to the fact that the same object which exists "out there" is seen from two different stations, or points of view.
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1 Furthermore, the very term "subject" has three main meanings: subject as an autonomous agent; subject as this same agent submitted ("subjected") to some power; topic, "subject matter." It is not difficult to recognize in these three meanings the triad of the Real, the Symbolic, and the Imaginary: pure subject as the "answer of the real"; a subject of the signifier, submitted to - caught into - the symbolic order; the imaginary stuff that provides the matter, the "content," of the subject.
The Parallax View, Slavoj Zizek
CAPOEIRA BIGHEADS MODEL - B
There is a violence intrinsic to abstraction, and to abstraction’s practical (social) use.
Abstraction passes for an “absence” –as distinct from the concrete “presence” of objects, of things. Nothing could be more false. For abstraction’s modus operandi is devastation, destruction (even if such destruction may sometimes herald creation).
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The violence of abstraction unfolds in parallel with what we call “history”The Production of Space, Henri Lefebvre
CONTROL ROOM MODEL - A
Psychology: Mental protospace [Ref. Milgram's Experiment]
CONTROL ROOM SCHEMAS
FIELDS OF SCIENCE CATEGORIZATION - RATIONALIZATION - TECHNOCRACY
NATURALIA REALMS ---- Specialist / Discipline / Apparatus -------------------- ARTIFICIALIA WORLDS ---------------------------- SOCIETY OF CONTROL - Social Effects
Animalia Kingdom --------- Darwin / Taxonomy / Wunderkammer-------------------- Colonialism and Private Property------------------------ ECONOMY- Production Control
Mineralia Kingdom --------Newton / Alchemy / Optical Instruments------------------- Perspective and Numerical Space ---------------------- KNOWLEDGE - Technical Instruments
Vegetabilia Kingdom ------ Linnaeus / Toxicology / Laboratory ----------------------- Phármakon and Schizophrenia-------------------------- COMMUNITY - Social Rules
METHODS OF SCIENCE SEPARATION OF KNOWLEDGE
UNESCO/NS/ROU/257 rev. 1 Paris, le 5 décembre 1988. Proposed International Standard Nomenclature for Fields of Science and Technology
19 Framed Inkjet Prints 24x33 cm.
INSTRUMENTS OF SCIENCE OBSERVATORY OF OBSERVATION
SEPARATION - ANALYSIS / MIXING - SYNTHESIS / OBSERVATION : THE PERSPECTIVE AS AN IDEOLOGY
EMPIRICAL PERSPECTIVE / PSYCHO-LOGICAL PERSPECTIVE - PERSPECTIVA ARTIFICIALIS vs. PERSPECTIVA NATURALIS
Central Perspective: the mental machine // Retinal Perspective: light vision projection
THE MASKS OF SCIENCE
Postcards Series
This postcards series shows a confrontation between the fight of the opposition between nature and culture, fiction and reality, the objective knowledge and the subjective knowledge. These dichotomies are made by comparing portraits of scientists, philosophers and other wise men, whose contribution was instrumental in the history of Western knowledge and to ritual masks of non-Western cultures.
