Thanks Roger for advising me about the attachment.
*It is not a starting point.docx*
Plymouth, 31 January 2010
It is not a starting point. It is not the first line of a book. It is just
information organized. And just humans, with eyes trained to focus on this
bruises over paper pages or on black pixels in an illuminated screen, can
receive, combine, transform, incorporate, and transmit this thing that is
happening right now, emerging. And it is just happening because my Internet
connection failed and I opened a Microsoft Word document in blank and
started to type the things that are wandering round and around me and what I
call my thoughts. I stopped for a while to save this document – *It is not a
starting point.docx*. Now, this flow has a name. It becomes a document.
Something that constitutes a memory of the instants, like a chain of
instants; frozen time. I feel I'm downloading myself. And I have no other
metaphors in mind but *the digital*. But may I try to find out? I'm trying
to concentrate in finding immaterial metaphors. Structures can be
immaterial. Like the immaterial way to memorize discourses in ancient times
– *the art of memory*: action in space to store and to access information.
Action in space means to connect time and space through imagination (using
images) to memorize; to organize information in a way that can be accessed
again and again and then transmitted. But there is no static. The
information will never be really, in a material sense, stored in space. *The
Ars Mnemonica* is a dynamic structure without any media unless the self and
the others – human beings – to take part in a conscientious way, in the
informational flow; A way to structure the *node* actions in the flow. We
are immaterial nodes. We know matter is just a concept. And it is as real as
the information going from my mind to your eyes. May you realize that there
is no present time? That it is quite innocent to believe that pictures,
books, statues, films, hard disks, can freeze the instant and record it as
something that has happened? The only thing we can perceive as living beings
is the movement, the flux. We will never understand time. We will never
understand space. Do you know why? Because they do not exist. Despite me
talking and explaining; despite all the philosophy. From the Aristotle's
Metaphysics to Pierre-Félix Guattari's Chaosmose. Nothing is relative. There
is no relativity. There is no Einstein. Maybe, there are translations. There
are several and several translations of an idea that emerged once and was
known as… Einstein! An old man with crazy hair I saw several times in
several pictures in several instants in my life? Lots and lots of fragments
of information about this emergence called Einsten. Einsten: a concept; an
idea; imagination; going on and on; information from information and by
information. There is no way to explain why and from where this thing named
Einstein comes. From Adam and Eve? From the Big Bang? Do you believe in Adam
and Eve? Do you believe in Science? Do you believe? I'm just asking because
I do not. I do not believe in anything if we agree that to believe means to
consider that something is/was real, that something happens once, that
something is true. But if we agree that Adam and Eve, the Big Bang, God and
Science, they are all imagination, than, I believe! Do you? There is only
dynamic storytelling. The act of telling stories – maybe it is what we try
to capture as reality and to hold and touch through photographs and films,
sculptures and books and hard disks. But I have a clue that there is
something that is deeply immaterial and dynamic that is the essence of what
we experience as universe, us included. Something as immaterial as the
Aristotle's *aether*. No fingers nor hands, no mouths nor tongues, no heart
nor love. Passing by, passing by. I'm looking at my bedroom at the same time
I'm thinking-typing. My bedroom is all around. I'm immersed in it. I'm in
bed. The pattern of the duvet cover, imitate the skin pattern of a zebra. An
animal that looks like a horse and which lives in a place named Africa. A
zebra is not a horse. Do you agree with me? Why? Have you ever been in
Africa? Have you ever seen a zebra? Have you ever been in my bedroom? Have
you ever had a zebra pattern duvet cover? Nevertheless can you imagine and
draw in a paper right now my bedroom and my zebra pattern duvet cover? Can
you explain to your best friend what the hell is going on right know in my
bedroom despite the fact that you are reading this question in the year
2227? Can you draw something here, please? Right now, because I'm going to
> hello everybody,
> roger has given the adress of the article " digital simulation : from
> simulation to simulacra"
> as he asked to me, here are some ideas that goes through the text.
> We can speak about simulation both in science art the arts.
> Technological simulation is now produced by computers, and it concerns
> science and arts.
> can we talk about a new kind of simulation ? and about a new kind of
> artifice ?
> Technological simulation of computers and digital technologies link art and
> technic cause they are the tools of creation. So the simulation, as another
> technic, influence modes of representation.
> And here it seems to be a structural influence cause the models of art are
> composed by simulation.
> So the representation on the interface is the result of a calculated and
> simulated reality, or from a theorical model.
> As E.Couchot and N.Hillaire say, digital art "internal laws" are based on
> mathematic and science.
> There is another new think in the art, that is simulation don't imitate the
> appearence of reality but by recomposing phenomena's acts like the reality.
> So we can say that we are in front of a new type of artifice, that changes
> the whole conception representation.
> And, the big paradox of simulation seems to be that, even if the model is
> reality, the process of simulation is to modelize the reality in order to
> reproduce its behaviour, and to be able to produce new results from
> theorical tests and calculation.
> During these operations reality is evacuated and the simulated
> representation is finally an autonomous artifice.
> The relation to the reference has been ejected and virtual world can exist
> by itself.
> This new step into the technical process and the ways of production of
> representation makes an up date to the thinking of Jean baudrillard about
> simulation and simulacra.
> Let's talk with you
> Je m'évite la cohue dans les magasins et je profite des petits prix sur
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HOW TO SUBSCRIBE: click on the link to the list you wish to subscribe to. In the page that will appear ("info page"), enter e-mail address, name, and password in the fields found further down the page.
HOW TO UNSUBSCRIBE: on the info page, scroll all the way down and enter your e-mail address in the last field. Enter password if asked. Click on the unsubscribe button on the page that will appear ("options page").
HOW TO ENABLE / DISABLE DIGEST MODE: in the options page, find the "Set Digest Mode" option and set it to either on or off.