Alain Badiou-Bibliography/The Event in Deleuze/Lacan Dot Com

"To break with empiricism, the event must be thought as the advent of what is subtracted from all experience: the ontologically un-founded and the transcendentally discontinuous. To break with dogmatism, the event must be released from every tie to the One. It must be subtracted from Life in order to be released to the stars.

The original French text is “L’événement selon Deleuze” in Alain Badiou, Logiques des mondes (Paris: Seuil, 2006). “

"It has neither beginning nor end, but always a middle (milieu) from which it grows and which it overspills. It constitutes linear multiplicities with n dimensions having neither subject nor object, which can be laid out on a plane of consistency, and from which the One is always substracted (n – 1)."
On the rhizome: Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (via deleuzeinterestgroup)
"The desert is populous. Thus the body without organs is opposed less to organs as such than to the organization of the organs insofar as it composes an organism. The body without organs is not a dead body but a living body all the more alive and teeming once it has blown apart the organism and its organization. Lice hopping on the beach. Skin colonies. The full body without organs is a body populated by multiplicities."
Gilles Deleuze and Félix Guattari Capitalism and Schizophrenia (via deleuzeinterestgroup)

Alone as a crowd: the latest example of the weirdness of quantum mechanics

deleuze-org:

Quantum mechanics is a realm of weirdness: electrons being linked to each other even though the vastness of the universe might separate them, things being in two places at once, and, of course, knowledge precluding knowledge. This last is the standard bearer of quantum oddity: measuring the momentum of an object precludes precise knowledge of where that object is. But I think I have found something that is stranger than them all.

Researchers have suggested that it might be possible to make measurements that trick a photon into thinking it is, in fact, a crowd of photons.

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http://cogun.wpengine.com/wp-content/uploads/2013/07/High-Definition-Church-Design.pdf

  • therockandtheroll:


Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

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  • therockandtheroll:


Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

favorite
  • therockandtheroll:


Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

favorite
  • therockandtheroll:


Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

favorite
  • therockandtheroll:


Found Functions
“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

favorite

therockandtheroll:

Found Functions

“Nevertheless, the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics. It is every bit as mind blowing as cosmology or physics… and allows more freedom of expression than poetry, art, or music… Mathematics is the purest of the arts, as well as the most misunderstood.” - Paul Lockhart

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Slavoj Zizek - Organs without Bodies: Deleuze and Consequences: The Reality of the Virtual

Perhaps, the ontological difference between the Virtual and the Actual is best captured by the shift in the way quantum physics conceives of the relationship between particles and their interactions: in an initial moment, it appears as if first (ontologically, at least) there are particles interacting in the mode of waves, oscillations, etc.; then, in a second moment, we are forced to enact a radical shift of perspective - the primordial ontological fact are the waves themselves (trajectories, oscillations), and particles are nothing but the nodal points in which different waves intersect. [1] This brings us to the constitutive ambiguity of the relationship between actual and virtual: (1) the human eye REDUCES the perception of light; it actualizes light in a certain way (perceiving certain colors, etc.), a rose in a different way, a bat in a different way… The flow of light “in itself” is nothing actual, but, rather, the pure virtuality of infinite possibilities actualized in a multitude of ways; (2) on the other hand, the human eye EXPANDS perception - it inscribes what it “really sees” into the intricate network of memories and anticipations (like Proust with the taste of madeleine), it can develop new perceptions, etc. [2]

The genius of Deleuze resides in his notion of “transcendental empiricism”: in contrast to the standard notion of the transcendental as the formal conceptual network which structures the rich flow of empirical data, the Deleuzian “transcendental” is infinitely RICHER than reality - it is the infinite potential field of virtualities out of which reality is actualized. The term “transcendental” is here used in the strict philosophical sense of the a priori conditions of possibility of our experience of constituted reality. The paradoxical coupling of opposites (transcendental + empirical) points towards a field of experience beyond (or, rather, beneath) the experience of constituted/perceived reality. We remain here within the field of consciousness - Deleuze defines the field of transcendental empiricism as “a pure a-subjective current of consciousness, an impersonal prereflexive consciousness, a qualitative duration of consciousness without self.” [3] No wonder that (one of) his reference(s) here is the late Fichte, who tried to think the absolute process of self-positing as a flow of Life beyond the opposites of subject and object:

A life is the immanence of immanence, absolute immanence: it is sheer power, utter beatitude. Insofar as he overcomes the aporias of the subject and the object Fichte, in his later philosophy, presents the transcendental field as a life which does not depend on a Being and is not subjected to an Act: an absolute immediate consciousness whose very activity no longer refers back to a being but ceaselessly posits itself in a life. [4]

Perhaps Jackson Pollock is the ultimate “Deleuzian painter”: does his action-painting not directly render this flow of pure becoming, the impersonal-unconscious life-energy, the encompassing field of virtuality out of which determinate paintings can actualize themselves, this field of pure intensities with no meaning to be unearthed by interpretation?

Art Papers | SIGGRAPH 2014

SIGGRAPH 2014 and Leonardo/ISAST present their sixth joint publication of SIGGRAPH Art Papers. Art Papers illuminate and explore the changing roles of artists and the methods of art-making in our increasingly networked and computationally mediated world. They inform artistic disciplines, set standards, and stimulate future trends.

In addition to the core topics of digital and interactive arts, Art Papers can explore the theme of the SIGGRAPH 2014 juried Art Gallery (Acting in Translation) or any other topic consistent with SIGGRAPH’s hybrid culture.  We especially invite and encourage papers that address the SIGGRAPH 2014 conference focus on mobile media art and culture.

This Exquisite Forest

"If you can’t slap him, snap him," is the tag line for the website HollaBackNYC (http://www.hollabacknyc.com)”

Rethinking Cyberfeminism(s): Race, Gender, and Embodiment

Jessie Daniels

"While some cyberfeminists contend that the Internet shifts gender and racial regimes of power through the human/machine hybridity of cyborgs (Haraway 1985), identity tourism (Nakamura 2002; Turkle 1997), and the escape from embodiment (Hansen 2006; Nouraie-Simone 2005b), I argue that the lived experience and actual Internet practices of girls and self-identified women reveals ways that they use the Internet to transform their material, corporeal lives in a number of complex ways that both resist and reinforce hierarchies of gender and race.”

" Saskia Sassen’s work addresses the embeddedness of the digital in the physical, material world, and she catalogs the ways that digital technologies "enable women to engage in new forms of contestation and in proactive endeavors in multiple different realms, from political to economic" (2002, 368). In contrast, Lori Kendall (1996, 1998, 2000, 2002), in her richly nuanced ethnography of the gendered dynamics in the multiuser domain (MUD) BlueSky, argues that digital technologies reproduce rather than subvert white, heterosexual, masculine cultures and hierarchies of power. In a 1997 article "Changing the Subject," Jodi O’Brien writes eloquently about the strict policing of gender identity online and the limitations of identity tourism. And Victoria Pitts’s (2004) research about women’s use of the Internet on breast cancer forums offers an important corrective to the discourse about disembodiment popular in cyberfeminist writing."

"Cyberfeminist practices involve experimentation and engagement with various Internet technologies by self-identified women across several domains, including work (Scott-Dixon 2004; Shih 2006), education (Clegg 2001), domestic life (Na 2001; Ribak 2001; Singh 2003), civic engagement (Harcourt 2000), feminist political organizing (Everett 2007; Sutton and Pollock 2000), art (Fernandez, Wilding, and Wright 2003), and play (Bury 2005; Cassell and Jenkins 2000; Flanagan 2002; Kendall 1996). While there is no consistent feminist political project associated with cyberfeminist practices, within a culture in which Internet technology is so pervasively coded as “masculine” (Adam 2004; Kendall 2000), there is something at least potentially transgressive in such practices (Fernandez, Wilding, and Wright 2003).”

What is Hollaback?

The real motive of street harassment is intimidation. To make its target scared or uncomfortable, and to make the harasser feel powerful. But what if there was a simple way to take that power away by exposing it? You can now use your smartphone to do just that by documenting, mapping, and sharing incidents of street harassment. Join an entire community ready to Hollaback!

- See more at: http://www.ihollaback.org/about/#sthash.F54oysQk.dpuf