falsity, note

gently-flirting-with-phlebotomy-jordan-clayton

gently flirting with phlebotomy, painting by Jordan Clayton.
simple, barely perceptible gesture. erasure – removal of the excess or inaccurate – and negative space. the allowance for the other to be, as it is, without definition, and for the mistake to be, within. to be content with a fragment – or the undoing.

again on transparency, through Rowe & Slutzky,
on transparency arising out of paranoia towards darkness. When shadows become erased, by light that is always burning (streets, screens, glittering offices – endless illumination and having to know what surrounds, what is present) Or, to instill fear on the basis of the unknown being threat.

Yet such a spatial paradigm was, as Foucault himself pointed out, constructed out of an initial fear, the fear of Enlightenment in the face of “darkened spaces, of the pall of gloom which prevents the full visibility of things, men and truth”. It was this very fear of the dark that led, in the late eighteenth-century, to the fascination with those same shadowy areas-what Foucault calls the “fantasy-world of stone walls, darkness, hideouts and dungeons-the precise “negative of the transparency and visibility which it aimed to establish.” The moment that saw the creation of the first “considered politics of spaces” based on scientific concepts of light and infinity also saw, and within the same epistemology, the invention of a spatial phenomenology of darkness.”

vidler, scenes of the street & other essays

To see everything, to fear the unknown and the very possibility of fear, is irreconcilable. Total transparency demands that natural concealment and secrecy that are felt as intuitive, are subsumed to the service of a ‘greater whole’. Total transparency as the authority of non-interior, but not necessarily that which ‘is else, other’.

Matter is slow, condensed. Particles that move so quickly they cannot be perceived as solid, take on the permeability of transparency, that is speed. Further solidity, beyond matter, and hiddenness, is slower. The necessity of this.

“Have you never felt a sort of fear in the face of the ageless, a fear that in that room you might lose all consciousness of the passage of time, that untold years might pass and upon emerging you should find you had grown old and gray?” (20.)

Jun’ichiro Tanizaki “In Praise of Shadows”

Further, the violence of speed in Virilio / the erasure of a dense past – Lethen’s coldness (erasure of shorthand history). The impossibility of living without ‘weaponization’ – the demon that lingers in the brightest days for no sight of length nor reason, even, without time for attention. And, liquidity. The ‘unfairness’ of financial liquidity (D. MacKenzie, later), as the manipulation of time-based value representations – upon which, the crisis of continued ‘prosperity’ / the self-justification of the national identity. or, spatial recession.

, when do we see through the material?

&, transparency of time
as in, stolen from Negarestani: “Incognitum Hactenus is a double-dealing mode of time connecting abyssal time scales to our chronological time, thus exposing to us the horror of times beyond”.

 

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