INTAGLIO

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INTAGLIO Our third master etching," The
Knight" is constructed on a double diagonal
cross  formed by the rider and the cliff , which
is the prolongation of the sword. Between the
"strength" of the castle and the loyalty of the
dog, watchful in the presence of the devil (on
the right) and death holding an hourglass (on the
left), the Christian knight rides towards the
necessity of contrition (Durer). "The Knight,
Death the Devil" by Albrecht Durer, engraving,
1513, 8"x10", Brooklyn Museum There are (from
one perspective) two kinds ?snip ?. The first is
somewhat like window ?snip? You walk past, take
note, get the broad picture, ?snip? and walk on.
The second ?snip? you cannot walk past. You just
have to go inside, ?snip? Then you have to
decide? ?snip? as if it is a window full ?snip?
to be gazed at. It draws me in. I have to look
?snip? Pick them up, ?snip? resonate? Your
writing is often full of empty spaces, left there
on purpose. Like nature your 'empty spaces'
abhors a vacuum. I often have to put an idea down
for a while and just walk ?0? only to be drawn
back to pick it up once more, like a delicate
?snip?........forgive me....gt) (anon).
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• Dear Anon-)...It has been my humble personal
  experience and rare privilege to know that there
  are those who not only will walk in the valley of
  death, but do not hide from the storms THERE.
  In the presence of another, while in the storm
  THERE they do not hide. They do not shelter
  behind some large rock. Nor do they simply move
  out, to hold the hand of the 'other' who through
  some misfortune and/or ignorance has found
  him/herself there. Seeing the storm
  approaching, they move toward the storm and THERE
  they call out into the heart of the storm for
  those lost and blinded and damaged by it. BLINDed
  themsleves, injured NOW they take into the eye of
  the STORM.... and THERE they GUIDE the
  STORM."The Christian Knight follows the right
  path even with the presence of the devil and
  death. He's riding through the darkness of the
  valley of the shadow of death to reach the City
  of God in the background. The hourglass in the
  hand of death symbolizes mortality and the
  shortness of human life. The snakes in death's
  hair are symbols of death and the devil. The dog
  is a symbol of faithfulness in religion and
  marriage. The dragon-like lizard is an emblem of
  evil and it's going in an opposite direction.
  Dead tree stump refers to the original sin of
  Adam. We are certain that the knight will reach
  his goal because of the power and assurance we
  get from the printed image." ...turning the
  page --gt "to work with gravity, with heaviness,
  the way a sailboat works with the wind" -) (see
  recent pdf image from the Guardian, UK.) An
  early, but often unconsidered part of Virilio's
  practice, Oblique Architecture creates a
  situation in which "Every dimension, every
  direction of space becomes a modification of the
  body" This conception of the built environment,
  which resonates so strongly "posthumanist"
  discourses, seeks to engage the body with the
  environment at every turn. But taken in the
  context Virilio's larger concerns with "the
  contraction of distances" ...(Paul Virilio,
  commentary and quotes)...note, to
  contemporaries-  in other etchings from this
  period Durer has compressed the pictorial space
  in such a way that all kinds of incongruities
  appear to the eye on the picture plane, so and
  for example -- in one a stag-deer stands on the
  back of the Knight's horse, which of course, in
  reality -) is not possible...is it?Angels and
  Buckets... fitting (Bohm) for a Post Modern LO?
  Who knows?"You (Andrew) once quoted Prigogine
  about the need to encounter the completely
  amazing or absurd. You seem to do this...this
  skitting from timeTime, Beam(ish), Whales,
  images, here and there...in your pdf you quote
  Prigogine again, and he points to Huxley and
  ...(anon)

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• "Paul Virilio Yes, but when I talk about
  globalization, I am myself a citizen of the
  world. It is not about opposing globalization. I
  am saying that the globalization of time- to
  return to what I was saying a minute ago - is a
  catastrophic event. So, to be sure, the problem
  is not the globalization of dialogue among
  nations. The problem is in the instantaneity and
  the ubiquity.Let me give you a simple picture.
  The Industrial Revolution encouraged
  standardization. And we know the extent to which
  this is a loss of the socio-diversity of
  cultures, not to mention the loss of handicrafts,
  etc. The Informational Revolution, however, is no
  longer aiming at the standardization of opinions,
  products, and objects but at their
  synchronization, which is a tyrannical situation
  like we've never seen. Even Orwell did not
  foresee this idea of global synchronization, in
  other words, the tyranny of real time, and hence
  that the conquest of real time would replace the
  conquest of the North Pole. It is this level of
  temporality at which my attack is aimed, and not
  at all... I am repeating myself with Garry Davis
  I was one of the citizens of the world when I was
  young, and I haven't changed my mind, on the
  contrary-but I believe that synchronization is a
  tyrannical phenomenon whose impact has not yet
  been fully appreciated.This is the danger of the
  new technologies. Like all technologies, they
  obviously have their benefits. But they conceal
  an absolute accident which is the perfect
  synchronization of the opinions, and emotions, of
  the world."i think i discern (know ) from your
  last monochrome work in the Varela interview -)
  series made in the midsummer of 2001 an insight
  into some new storm, some new war....is this in
  any way connected to your visit to see Ms Sacks
  at Oxford, who worked with Jospeh Beuys?...Let
  me answer you from the same Paul Virilio paper
  (that 'anon' sent me) that i only received last
  night (13th July 2004) because it links with
  other matters that are, well, let's say
  backgrounded in the way senge speaks of drama,
  theatre and foregrounds, ...those
  spotlight-)"Derrick de Kerckhove I wanted to
  ask your opinion about the extraordinary
  correspondence between the different stages of
  the event on 9-11 and the principle elements of
  Greek tragedy as they have been developed by
  Aristotle and others. What I am about to tell you
  is going to sound pedantic, I'm sure, but in the
  end it will be worth it since, after all, we have
  kept Greek tragedy alive throughout Western
  history-it was not for nothing, and maybe it's
  useful. First I want to point out how 9-11 is all
  about important families in a unified world, just
  like in the Greek world represented by the tragic
  drama, in which the whole Greek world is
  involved. The Greek world of tragic drama is
  total reality. Similarly, for us, what is
  happening today is clear, Paul perfectly
  explained it to us, it is unified world
  reality.Who is in this reality? First and
  foremost it is the number one man, the big boss.
  Tragedies always involve important characters
  because these important characters have the power
  to act on the rest of the world. And today we are
  under their thumb.Now who are these important
  families? They are the big oil families. These
  influential families have their finger on the new
  nerve of war, which is oil. One could prove it in
  every conceivable way. So I would like you to say
  something here precisely to expose the dynasty,
  the affiliation of the father and son in this
  story which puts two important characters on the
  stage, Osama Ben Laden on the one side and George
  W. Bush on the other.Paul Virilio If you don't
  mind, first it just so happens that before
  working on the text for Ars Electronica's
  catalogue, I read over again Nietzsche's Birth of
  Tragedy. Really important. There are two books we
  should re-read right now Freud's Culture and its
  Discontents and Nietzsche's Birth of Tragedy. Now
  Nietzsche says something really positive about
  tragedy which people have underrated. There are
  the heroes you mentioned and those we talked
  about, Bush senior and junior. But there is also
  the ancient chorus. The ancient chorus is the
  city. The city is democracy, we are the city.
  Somehow the question of the ancient chorus has
  not been raised today. The heroes speak, but the
  ancient chorus remains silent. Hence the
  importance of a Johannesburg of civil peace.
  Because let me remind you that terrorism does not
  threaten so much the international peace as world
  civil peace.What is threatening us at the
  moment is not the Third World War, it's the first
  global civil war. New York is the equivalent of
  Sarajavo in the first European and world war.
  "Now last night, just before anon. sent me the
  words above i was back in 1996 with At and his
  correspondents - a small chorus, then as now...

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• Replying to LO10778 --One feature of Julian's
  excellent summary of SFI's (Santa Fe Inst.)
  complexity work (integrated with the work of
  others) missed an important feature for the
  topic of creativity. From the depth of Julian's
  cover of the subject, I suspect it was missed
  due to length rather than anything else.That is
  the feature of the "genes" or "bits" or "threads"
  to remain in existence in some largely unused
  form and to resurface as part of new threads
  which are created. This is one of the features of
  Holland's work on recombination.Ideas (or
  threads) which appear to be part of an earlier
  chain lurk in the background and resurface when
  new threads provide new opportunities. The "old"
  ideas often occur as new when recombined with
  the new thread. In genetic algorithms, this is
  generally referred to as rules which are less
  effective - sometimes even "wrong" or detrimental
  - in earlier threads being used in later ones to
  positive effect EVEN THOUGH THEY ARE STILL
  WRONG. That is, the evolution of genetic
  algorithms - or of nature - occasionally uses
  less effective "rules" or else they might as
  well not be saved. It is also clear that this
  saving and use of less effective components is
  part of the system's continuing evolutionary
  pattern. That is, the patterns are not seeking
  optimum but seeking viability in many
  circumstances - robust survival possibilities.
  Holland uses the example of the human sexual
  reproduction patterns are not attempting to find
  optimum individuals --snip-- and attempting to
  make many copies of them. Their genes just go
  into the pool and mix with others for other
  options being developed.This implies that ideas
  do not die out even though, as Julian pointed
  out, the pathways of the ones which are
  effective deepen or strengthen with use. But,
  then they too lose strength or "die out" and
  still remain in the background to
  resurface."SNIPMichael McMaster 1996...is
  there much time left, Andrew?dear anon, there
  is NO time -) left, right, wrong or
  otherwiseSNIP.(To see Durer's 'Knight' and
  his 'faithful dog' please open my PPt file -- the
  design over the head of whom is At's original
  composite artwork on leadership's complex nature,
  i simply tu(r)ned in into its own storm. You may
  think you see in it at the edges there repeated
  Durer's Knight's Doggy's head, right to his nose
  and ears...BUT that would be too astonishing...so
  do not believe what you see done...but...then not
  believing will you see the storm coming.)PS.
  anon. Please extend my sword hand to your
  'Christian Knight', it is free-) and by way of
  ''becoming-being'' Eternal.love,andrew

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Footnotes to previous pages The large detail
(above left) comes from the sculpture of the tomb
of Lorenzo de Medici in Rome, sculpted by
Michelangelo. The animal is indeterminate but
looks familiar to me -) it is carved onto a
money box, on which Lorenzo is resting his arm.
Michelangelo had intended to place the form of a
mouse, the symbol of a gnawing time. He left a
piece of marble free for that mouse, but it was
never carved -) (Condivi)
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Detail of the tomb of Lorenzo de Medici in Rome,
by Michelangelo.