Tuesday, May 22, 2012

Gliccioni



o how they stalk alone

the unparalleled void,

and with each step

sink deeper

into 樸.


This poem would I guess be a little joke, a joke about echoes, as the  character is sounded as pu, which
translated means uncut wood, a common metaphor in Taoism for wu wei and the concept of jian, but is often translated as 'uncarved block', which to my semantic ear sounds a paradox. A block signals an implicitly carved form, one conforming at least to some principle of a basic vernacular of geometry.

In the image above, Boccioni's Unique Forms of Continuity in Space, the figure's feet are resignedly block-like, and if we can get past the expediencies of the sculptural prop, ie, the plastic manipulation
and inhering of the concept of base, there is a curious entre' to an inverted symbolism of possibility.

There is also the curious relationality of the title to the figure. If Boccioni's Unique Forms is, in a sense, performing a figural singularity while implicitly signalling the plural, whether it be of populations, psychology,
actions, etc, then what we have is a complex symbolism questioning both the notion of singular and plural, and created and 'uncreated'..

In poetry, or in thinking of any kind then, this could be a recognition of something like suchness, ie, formlessness, or rather the relation of the informe qua form. Something carves both, or Carving somethings both.

In terms of the 'action' of the figure, it is purely formal, and enters into the long discourse of both sculpture, and the divine, namely in those specifically Greek notions of the divine which existed as conversations between the valorization of stillness and movement, and whose resolution might be said to exist in something like the Contrapposto poses, which allude to a moment of cessation, or the tension, or possibility of change within a form. But even more, than alluding to these debates, there is the possibility of an iconic reading of the figure much more in line with standard emblems of the Tao, the Taijitu.

Here's the wikipedia entry for pu:

Pu (simplified Chinese: 朴; traditional Chinese: 樸; pinyin: pǔ, pú; Wade–Giles: p'u; lit. "uncut wood") is translated "uncarved block", "unhewn log", or "simplicity". It is a metaphor for the state of wu wei (無爲) and the principle of jian (儉).[54] It represents a passive state of receptiveness. Pu is a symbol for a state of pure potential and perception without prejudice. In this state, Taoists believe everything is seen as it is, without preconceptions or illusion.[55] Pu is usually seen as keeping oneself in the primordial state of tao.[56] It is believed to be the true nature of the mind, unburdened by knowledge or experiences.[57] In the state of pu, there is no right or wrong, beautiful or ugly. There is only pure experience, or awareness, free from learned labels and definitions. It is this state of being that is the goal of following wu wei.

In my concept of syntaxis, I have aligned the concept of movement by discrete steps, with that of cognition through discrete concepts, or indiscreet concepts as the case may be, and I have over the years referenced things like Deleuze and Guattari's 'schitzo's stroll', ancient Indian poetry, etc.., but here is a chance to create a kind of neo-Contrapposto, and not only a valorization of computationalism, but a way of giving a determination of the marker 'mysticism' which would refer to the contextualization of the computational element within the infinite series, and even provide a way of providing a caveat for an infinite series to become a discrete computational element.

One can still speak in a specifically Taoist mannerism and achieve scientific relevance:

What happens in heaven is unknown, and what 
will become of Earth cannot be completely inferred,
but intention's direction may at least be given a name.

Non-linearity exists only as a lacunae in perception or expression, even when perception, or expression create the lacunae in advance.

So now, to draw together these few threads, I present this Cheap Conceptual Sculpture for yr edification:

Parsing a New Taothenon

Conflating templus and templum in meaning, the basic architectural form would be circular, telescopic, by extension, approached on all sides by stairs, and Boccioni's Unique Forms would be replicated as a series of columns around the periphery, the figures striding outward, and inward, by alternation. All the stairs and the columns would be black, and the roof would only be a raised planar ring covering these columns in the manner of a stoa, and also black. The inner region would be represent by a gigantic smooth white egg rising out of a toroidal mote whose surface is patterned by a tessellation of black and white meander patterns. The door to the egg is a black hole, on the other side
of a solid grey bridge.

//Pu

Heaven and Earth are vast,
and every direction one travels
are wonders, and one reveals 
wonders and terrors.


Matter is innocent and perfect, and 
every achievement is created by small 
steps, but also every achievement is 
a small step in the realization that 
only in stepping, continuing, what-
ever the consequence, can the way 
come to be known.


//Pu


Q: Phenomenological praxis as telos?

A: Irronic omen, Praxiteles (Gliccioni) [agency]...


be log. (laufen zeitentlang)