Ω{first notes on Kroker's Image Matrix
| that the world is mediated by perception off the top. so imagery is not other but held bits of the present, what was there, already, just formalized. maybe all art was all along is a slowing down of what we were already doing.
what we see each time we look is new even if the pieces all stay pretty much the same, the rocks and trees and shapely legs and the close fit of light and shadow, the symmetry and spark of rearrangement, and while we're at it what exactly is the shape of the frame through which we look? I can't seem to get a clear take on the edges of my own sight. |
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| Kroker- "signified by the triumph of virtuality, by the disappearance of the spectacle of the graven image into code. It is as if those torrents of words spilled in the decade leading up to the end of the 20th century, those anti-words that stormed the icons of representationality, that spoke of the hyperreality of a coming structuralist reality, finally found their moment of historical truth, not in the echoes of written language but in the language of the disappearance of the image. Hypering the image. Coding the spectacle. A hygienic of (ocular) memory. A necropolis for the photographic memory." |
| see. I'm having more and more trouble the more time I spend looking at stuff like the archives of the Louvre and institutional collections of photography and print, trouble separating the pixels from the dpsi's, from the brushstrokes, separating the bits of information conveyed from the information itself. the 'words in torrent' not much different from the bits in torrent.
it's the information Gates is burying not the images. form is incidental to information. he does the work of a militant deity, and strategic information is lots different from aesthetic information, though in the long run the aesthetic, I do firmly believe, will prove to have had the bigger bombs, the more deadly weapons. there's a realm here, or maybe a field, a battleground most of us haven't even heard about, which makes it hard to talk about. but so many inexplicable things, so many obviously wrong moves, begin to make sense, to coalesce, when that template's applied. people will want to say Gates does this... and then list his motives, but his motives are nothing. his whole life has been a series of directed steps toward an end his billionairehood is a byproduct of, only wages, a token of appreciation. he's not in charge of anything but the wine list at Redmond, figuratively speaking. the 'image' is disappearing into the stream of perceptual information�wireless prostheses, the windshield, the TV screen, the monitor, cybernetic Windows�, even the lenses of myopic correction, among all that the unmediated 'real sense' stream is like one of those margin-dwelling remnants of local fauna, flushed by development, cut out of the retreat and unable to withdraw, panting, trotting down the suburban gantlet. meanwhile rats are pavloved into remote-driving robot vehicles, and the Frankenstein collective celebrates the third arm's rise, the monkey's paw politely tapping at the front door. image doesn't disappear, it transmogrifies, becomes light, virtual light*.} |
