Is the mind of a fox separate from the landscape it inhabits? The fox builds its den in the soil, its trails crisscross the fields, its footsteps bend the foliage, small plants cannot thrive where it chooses to habitually pass. The hedgerows conceal nests of mice and birds who shelter high enough to evade its passage through the land.
The fox searches for food. The farmer keeps his chickens in a coop high above the ground, he designed it to be this way at his kitchen table. The grouse hide in the undergrowth silently and still. The hare leaps from its hiding place as a walker passes too close and then runs away. The flora and fauna in the valley of the fox is settled into equilibrium, the action of the fox has sculpted it and the bounty within has sculpted him. The desire lines that run through the downs and pastures trace the balance between the will of the fox and the bounty of the land. A juvenile owl seeks a nest of its own and flies into the night, it settles in an ash tree and hunts in the woods. The bounty of prey is insufficient to sustain both the owl and the fox. The mind of the fox adapts. A fence previously un-breached, a road beyond to traverse, and beyond that trees that yield fruit never before seen by this fox. Slowly the fox passes through the hedgerow and the road is crossed, more easily as each day passes. Within the mind of the fox cortical remapping takes place. As he experiences these new sensations, the anticipation of passing motor cars, the adrenaline at his burst of speed, the astringent juice of the fruit that rewards the inquiry, the foxes physical structure is changed through neurogenesis. Synapses fire in new and desirable ways. The cartography of the fox’s anatomy, his physiology is altered, but so to is his anatomy, the object of his being is reformed. A new path is run through the valley, the hedgerow is now a portal and the field mice that used to feed safely in the orchard now must dig a deeper burrow. Now the subject of the foxes quest for food, the will of its being, has become the object of its anatomy as well as the object of its environment. Files, instructions, data. Vectors, paths, channels. Designed as input for a laser cutter, this form is both unique and available for mass production. I shall continue to work from this in the coming weeks. You could term this net as a crucial form: cru·cial (kro̅o̅′shəl)adj. 1.a. Extremely significant or important: a crucial problem. b. Vital to the resolution of a crisis; decisive: a crucial election. 2. Archaic Having the form of a cross; cross-shaped. [From New Latin (īnstantia) crucis, (experīmentum) crucis, crossroads (case), crossroads (experiment), from Latin crux, cruc-, cross. Sense 2, French, from Old French, from Latin crux.]
The Red Queen Hypothesis is
'an evolutionary hypothesis which proposes that organisms must constantly adapt, evolve, and proliferate not merely to gain reproductive advantage, but also simply to survive while pitted against ever-evolving opposing organisms in an ever-changing environment.' I have proposed a new symbol for culture to do with as it likes, I will track it's progress here. Is the will of the universe in tune with this addendum or not? Time will tell. Please view further details here. White Cloud without Moonlight. Monolith Hooting Moth Unclothed Litho Outwit Twilit If you wish to effect the structure of this poem permanently please post other words which are contained within into the comments section and I shall add them. The 'trope' of the piece shall then be changed.
I apologise for the language in the following statement. It goes against all that I admire: brevity is for me very much the soul of wit, and more besides. However the hyperlinks embedded within it are an interesting way to start the ball rolling. I am starting with a monologue which may turn into a dialogue but will hopefully end an ‘panalogue’ (sorry again to bombard you with such a nonsense word). Also I would like to avoid certain pigeon holes and preconceived ideas, so this is getting it out of the way:
There is no specific Speech Act in any of the things I hope to make. In this sense they intersect with reality and not just the world of speech acts and their respective perlocutionary effects, which have a specific teleology. (Sorry about this, forgive my logorrhoea, it’s done now) By this I mean that I see the sensual world that we inhabit as a mere shadow of the supersensible world, where true objectivity resides. This is of course a world which we can never fully perceive. When an object is made it is part of the totality of space and time, it can be nothing else, no matter how hard it tries. It is not simply an attempt to make sense of the unknowable through the systems of language and mathematics we have created. These systems are flawed and create a reality but do not encompass the whole reality of ‘everything’. Conceptual art is pure speech act and can exist only in one strata of reality, that of the perceivable part of the world. It lives only in it’s perlocutionary effect, what else can it do? It can be transformed by interpretation into a phenomenon but initially it has no noumenon (unless of course you class it as a small section of everything else, but I don’t think these things often are thought of in that way). I am not striving in this endeavour to create pure objectivity, far from it. All things are part of the whole and exist within a spectrum that passes from the objective to the subjective. Purity resides in the knowledge that everything contains shades of everything else. The work reflects my life, it’s scale, and the environment I inhabit. The language I use and encounter and the various discourses I engage in. This is inevitable, the specific details of what I have made you will have to deal with yourself. Today the wheels have been set in motion for a series of projects that are designed to explore the nature of the will of the universe. I will document the processes involved on this blog and on other places around the internet. As the projects mature objects will start to come into existence and enter the ‘real’ world.
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