Saturday, January 1, 2011
Pink Shorts recently Posted this video of Such Fine Ball Juggling I'm Going to Call it 2011
Massive, really, to see fine jugglers expose themselves. Hats off to this lad, I read he is a comedian. A dry humour. I wrpte about a Pink HyoperObject huge Higgs Boson of a Juggling Object recently and made a video, so the Pink theme caught my eye. It's a new video on the juggling circuit, and rare as it is, it should be noted that it's a first video (no it is not me... although I do know a squash court when I see one). Anyway that I looked I saw only movements and new body patterns that I would have to incorporate into my juggling act. New ways forward, for which I am grateful to the Juggling community, are being provided daily; as You Stream tells us something like 34 billion hours of Uploaded Ganglions of Inforbytes now exist, and amidst them, this one I find?
The psychoanalytical model can be dispensed with pretty quickly. After that, it's just something that happens on the inside of the mind when it has an objective (to learn juggling). So, I have a new one for 2011 . As four more pink object balls are required in my personal collection of balls, I have some shopping to do; until then, however, the mind I am told exists, learns as much by watching videos as it does thinking about an ideal three ball riff. Still, you have to admit, it stretches the mind to see a new juggling routine; it asks of us, how did he come up with that? how did he come upon it? Well, as I'm a reasonably fat slob, I've someway to go before even attempting a few of those moves, but as I can't balance a ball on my head, that I have a long way to go before doing so entices rather than defeats. I'm impressed by these jugglers, the hundreds out there and the really amazing ones, Chris Bliss, Jason Garfield and many others ought to be mentioned here and perhaps will be. Another time mebbe....
COLLAPSE III
88
them, we say that this rarefaction is due to cuts, barrings,
which only permit certain flows to penetrate into conscious-
ness. The essential remains: perception is in every way still
thought as a rarefaction of matter.
We can formulate these two postulates more precisely by
including both in the following proposition: there is becoming,
and becoming is fluxes and their interceptions. This statement
allows us to say the following: a flux is not sufficient to
constitute a becoming – for this, there must also be inter-
ception. Fluxes, certainly, transmit movement: but this
movement is not a becoming, in the sense that, ruled by
the laws of nature, it connects every image to every other
image, according to a necessity which saturates the real
in some way. Every thing being connected to every other
according to laws, the cognition of an image is sufficient in
principle for us to determine the present, past and future
movement of all the others – and this to such a point that
the very difference between the three dimensions of time is
erased, to the profit of an immutable web of transmissions
of movements. One is faced with an immobility made of
movements, analogous to that of a powerful jet of water, in
which the continuous movement of matter gives rise to a
continuous immobility of form. Flows, left to themselves,
are just such a pure mobility, immobilising themselves by
the very fact that no obstacle obstructs their deployment:
they are the bonds between all things ruled by fixed laws.
For there to be becoming, something must happen, and
for something to happen, it is not enough that something
comes to pass – on the contrary, it must be the case that
something does not pass: there must be a disconnection.
This is the only way to introduce a becoming into matter, Meillassoux – Subtraction and Contraction
we do not simply passively perceive the signs on the page;
for the mind, on the basis of various characteristic traits,
fills the interval with memory-images projected onto the
paper and substituted for the actual printed characters. The
second type of memory which impregnates our perception
is not that which impregnates the present with our memory
of the past, but that which constitutes that present itself:
contraction-memory. For however brief a perception might
be, it always occupies a certain duration and thus neces-
sitates an effort of memory which prolongs a plurality of
moments one into the other. So that, as Bergson writes:
‘memory in these two forms, covering as it does with a
cloak of recollections a core of immediate perception, and
also contracting a multiplicity of external moments into a
single internal moment, constitutes the principal share of
individual consciousness in perception, the subjective side
of the knowledge of things’.13
The problem of the cognition of matter thus becomes
the following: our perception seems (this was the decisive
advance made in the first chapter) to join directly with
matter in itself. In the object, we perceive the image in itself
which it effectively is. Matter contains no depths, no hidden
aspect. In this sense, Bergson’s immanentism held fast to
the fact that matter is given wholly as that which it is: no
space being left for a thing in itself inaccessible to cognition,
a hidden transcendence. And, what’s more, the world was
not immanent to consciousness, it was not a transcendence-
in-immanence like Husserlian objectivity.
63
Will we ever be mature
1. What is Philosophy?, 48.
COLLAPSE III
enough for a Spinozist inspiration? It happened once with
Bergson: the beginning of Matter and Memory marks out a place
that slices through the chaos – both the infinite movement of a
substance that continually propagates itself, and the image of
thought that everywhere continually spreads a pure conscious-
ness in principle (immanence is not immanent ‘to’ conscious-
ness but the other way around).2
There are at least two ways to approach such a text.
The first way – the most natural way – would be to try
to understand by applying oneself to a more in-depth
reading of Deleuze. This would necessitate, for example,
an elucidation of what Deleuze means by ‘plane of
immanence’ or ‘chaos’. It would also mean resituating this
text in the light of Deleuze’s Cinema – and more especially
in the light of the two commentaries in The Movement-Image
dedicated to the first chapter of Matter and Memory.3 But
there is a second way of approaching this text, and it is this
alternative that we shall pursue here. It might at first seem
somewhat artificial, but we hope that its aim and its interest
will rapidly become evident.4
In what, then, does this reading consist? No longer in
trying to understand the text in question on the basis of a
2. Ibid., 48-9. Translation modified.
3. Cinema 1: The Movement-Image, Chapters 1 (3-12) and 4 (58-72).
4. Although this article is concerned with the link between Matter and Memory and
Deleuze’s philosophy, we will make no further reference to the analyses in Cinema of
Bergson’s masterwork, and the reader may, quite rightly, be surprised at this. But our
which is not the same as undertaking an exegesis of those Deleuzian texts expressly
dedicated to Bergson. Our path, as will be seen, is constructive, not exegetical. And
Orange Sunshine
OF COURSEs air, a novel gesture made me look again at her husk, kernel. The pier, this that pier there this appears as a now which is a noun, A Tool-Being (English readers may smirk here). ((If you get it wrong, BPMBAST)) Permission granted Justice and the logorhtymic intensity of a SCottish Christmas had me breakfasted on a stiff Queen's Ripple by the loch. It was kant if I do and Can't if I won't Jimmy. The pier had been forged in 1878, let's say. Into the English channel as a.. (did I say English Channel. Does this interlocute my geography? A cause worthy of note. Here she hands me the invitation to speak, the durable plastic folder in her other hand, letters of not normality, evidence of change. Is this what you mean by a sublime object? She laughs and tells me her name a second time as the sky lifts her shirt up. Objectification appeared before my ear and eye. The struts of the wrought iron. Parallel worlds. See below) seashore and wavespell, granite collandes, white Georgian bandstandards of Old Memory. She took the Highwater Line off the Loch to Innis Garven and there mounted a Frenzy to the Subaltaic Region. Here, the Pipe's and Frenzies gathered and she allayed a trope or two with a round for each. McKenzie Station? Round the Corner Ma'arm. They sniggered/ After all, it's just a pier, what you hung about it up upon cosimi Amidicicio? Vespusivius. Obviously (I started to drool) HOT hiney shining in sun sitting on deck chair locates horizon and eats ice cream. Crowd hits a clap at band stage center as acoustic resonates through wood. History melts into the formica kitchen of the cafe as the stones roll around the beach. It's just a pier, a requiem of another day, that's all. She was very certain of herself in those days, cocooned (as I saw it) in her Malibu Home, nearer Captain Bugwash only in that was the name of her pub on the beach, than I who was nearer a pub in Old Blightly by the same name when I thought I'd stop into the Delight Chickky for a brief alloy of Spice and Nutmeg which had become a rare Lux in those days, like her soap? Soap bought proferred under my nose. It's from France. Always delicate. And other objects, such as pick axes and shovels (although used in the vicinity of the pier) were replaced by plastic contrivances, and after dark drinks beneath her hull. But a Tool Being? Having settled into my armchair well comforted that the pier was nothing but a Tool, I felt more realxedisued, as if I was on philosphical solid ground, much like those pillars supporting the whole structure (which later I would see as the phone number and advert of the actual (yes, actual) scaffolders assigned to the mop up job) See below. After that coincidence, the pier became more user friendly again. It helps. It assists. It makes work of the sea. It affords views. It enables other objects to be seen. It faciltates navigation (it is a chronometer) It is an ally of Captain Cook (and his Chronometer) and that is an ally of something far wider that would have to be called HyerObject 9but which one? HYPB a or HYPB 2? It was never clear, not for very long. Not.... fog etc was coming in off the sea, she said, she would call me back later. (Problems with assmeblages) and the weather. IN the first instance I thought to rage. "Is it preposterous to rage, like sea against end of Object?" The dark pier lost in the fight against Night, but it may yet see another day. Let's hope it's not a post-anything one.
O O Oh!
This link should go to 2008 Sabin-Jones exhibition on Motility, Surface Design and Networking; it doesn't, it goes to the 2007 exhibition on Surface Design (Project 2) by Misako Murata, Austin McIerny, found by way of the NonLinear Research centre "in Pennsylvania". (True quotation marks are always already implied around the textUa;llah Here where she (Jenni E) and he (Peter Lloyd Jones) work appears to be HERE (LabStudio) "radical, new, multidimensional, systems measuring produce initiated modes, where we find mathematics, materials, architects in HYPBRID medicine and Engineering (makes my toes warm to say it). O O Oh! I was flush with Christmas wonder when I heard Santa Claus' voice behind the text: how did I end up Here? (O O Oh!?). 
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