tag: flow

Pool Creek Canyon, watching

John Hopkins → 11::May::2010 08:51 → cats::travelog, video


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CLUI: Day Eighteen — storm

John Hopkins → 20::April::2010 10:15 → cats::clui residency, images, projects

dust storm from the tower, Wendover Air Base, Wendover, Utah, April 2010

Brutal sand/wind storm (again, what else is new in “Wind-over”). I have been almost completely scuppered in doing sound work here by the incessant wind (and not having a decent wind-snout for the Zoom H4. I thought Iceland was windy, well, this place is a close competitor. No trees, and the contrast of the flat playas between the relatively high mountains makes for some adiabatic action combined with a series of major Pacific storm fronts pulsing through. Noting when in (sparsely) wooded mountain valleys of the Toano Range, there isn’t the intensity of blast — the opposite occurs on the air base which is on the edge of a playa that extends 200 km to the north, 200 km to the south, and 150 km to the east: flatness breeds velocity. Velocity and sustainability — it goes on and on with only occasional respite.

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quick note on virtuality

John Hopkins → 04::February::2010 09:17 → cats::thesis

out the window, Reykjavík, Iceland, January 1993

The condition of virtuality arises when humans create a situation which attenuates the flows that are impinging on their sensual and embodied presence. When technology is defined as a way to alter the paths of energy flow: virtuality is a subset condition of the altered flows such that the flows that are obviously (or not!) entering the body system are attenuated. The obvious (materialist!) subset of the widest set is that grouping which attenuates the classical sensory-input spectra. These may be ‘scientifically’ framed based on typical wave-based mechanical and electro-magnetic physics: the EM frequency band of visible Light, the pressure-induced electricity of touch, and so on. In a holistic approach to presence, the affectations of flow are continuous, complete, and substantive.

Alluding to yet a further subset is the use of glass as a specific form of energized matter which is placed between the eye and the ‘world out there.’ This is a fundamental form of virtuality, where silicon dioxide is introduced as an attenuating filter of flows between embodied presence and the cosmos. (this is a short intro to a longer text on the history of glass that’s cooking on the back burner.)

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The uncontrolled gesture: go to your edge

John Hopkins → 10::December::2009 11:13 → cats::thesis

Starting with the immediate body as a field-of-action to release control (versus the control-at-a-distance regime we are immersed within now):

Bushwhacking is a method to relinquish control of the trajectory of the body. By exposing the body to the unknown, one has to respond in real time, in the present. This present invites the presence of be-here-now and within that state of be-ing, the embodied self yields to the edge that divides the controlled from un-controlled. Precisely at that edge is the locus of active transformation and change. Making the next step into the unknown is, literally, an act of trust in the body, in a belief that entering the unknown will present possibility. Whether or not this possibility is merely the chance of the continuance of the species (in a biological framework), the projection of life into the not-now, the future, or whether it is an operative pre-condition for a transcendent state I cannot at this moment comment on. Somehow, this is a question that each individuated being self-wise has to make in each of those moments.

Human-controlled flows — those apparently known, defined, located, standardized, measured flows — are merely thin veneers on an un-controlled cosmos which dwarfs all. Or does it? Are we not energized elements, expressions of that cosmos, as much as any else? Does the scalar really matter when space and time are suspended (along with the artifice of Cartesian models and all other abstracted human frameworks)?

Go to your edge. This phrase comes up in yogic teachings in the West. It suggests a shaky physical state where muscles struggle to maintain some configuration that they are barely fit to do. Of course, that meaning may deepen as a practice becomes more holistic and not limited to the mere physical (think pilates). Moving further into the the image — what would it mean to an animal to go to its edge? The edge would be the dividing line between living and losing control over all body systems (organismic death). A tad over precipitates a very different outcome than a tad under. Can it be that non-human systems exist at that edge at all times and at all scales — that this is the condition of non-equilibrium states? But it would seem that human systems exist at this edge as well, except that the human has abstracted numerous illusions suggesting that it is not subject to the same razor-edge condition. (The illusion of control of future trajectories.)

How to translate this image into a practice?

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