Some Notes

Pre-emergence, post-emergence—before or after evolution—the unmediated reality—an optical instrument: the museum as colonial practice—art history—where does art just become a product of art history

Bodies—even bodies of discourse are relegated to position and ideology

Essences are bullshit

The dialogic is a continually evolutional situation

Bodies are always the point—the body being erotic, sensual, and discursive—does this imply a Delay of some sort?

ThePriceIsRight as training mechanism for young capitalist consumers

What is the duration of streaming? mass of information—access to information—to the streaming—how do we accept, deny, believe in the stream

The encounter—rapid, short—transformative—open

Explosions of discourse—regimes of discourse---evolution and evolutional discourse relegated to its own ideologies

Rate of linguistic evolution—translation—cultural storage of knowledge—what if this is articulated in a public responsive sphere: environment

Process—resposive, evolutional spaces vs. product individuating experiences—when might we begin to experience our own evolution, see it as it becomes manifest

Ethics—situational and contextual—epistemelogical—what does survival mean in this?

Once meaning becomes fixed it becomes a commodity—the museum is fooling us

Direction of evolution—rate—as applied to a narrative or trajectory—are trajectory and narrative synonymous?

“What is rushing through a biology?”—Bhanu Kapil

Meaning is communally constructed process—

Bodies—how do we define them? who is we?

Moving from lacan’s thinking about representation—what happens if desire moves from a representational model to a performative model

Poeisis—praxis—pedagogy—the act of performing—performing implicit and explicit rhetorics of acknowledged or unacknowledged yet constant ideology

Is this how to undercut the model of modernism in popular culture?

Trinh T. Minh-ha—Inappropriate/d other—refracting lens—what is this evolutionarily?

Mapping of interference—haraway

What do I refuse?—I refuse the static. Anything that does not move. Things that superimpose their structures (ultimately false, yet undeniably effective, affective, in their body blind making capabilities) onto reality. Whatever that is? I refuse the idea that knowledge is static. Stasis is refused. Refuse the soda; refuse the fluid— A kiwi. Yet words seem static. Not hypertext! How do I make my words move, evolve, Etc—

Rhythmic forces are stronger than the theme—how is the fluid affected during the winter—trace it back to the embryo— Pre-embryo— They won’t cross each others toxic area!

This is how a body changes: rearticulation, representation—press enter, change maps—

The pre-contact zone is changing both actors—Haraway—the social-epistemic thought frame added to the non-human and interhuman, beings and objects, corporate or otherwise—In terms of the evolution of knowledge or knowledges, my new body is a constant rearticulation, is a continuing process of transformation with as many converging actors in their own constant performance of variating similar repetitions compiled by confluences of ideologies

The archive, museum, the storage of cultural knowledge—evolving towards—interactive public spaces—internet museologies—virtual worlds both tenuous and infinite

Nature is highly articulate—How will the amodern hybrids of healing practices cohabitate in the emerging social body— What was that—

Translating codes—internet—code switching—language bridging and coalition building—and a willingness between worlds previously held apart

In a narrative—linear, one moment to the next versus a vertical orientation—exploding one moment—from multiple perspectives etc—

How do I provide infinite permutations within a text that has seemingly rational yet false time, space, linear qualities—the book as museum—

The internet (world wide web) is the everlasting body that is continually in a transformative process—this is also a
metaphor—macro-micro-cosm/os—thinking about thinking about thinking about stuff—pata-meta-—

History writing discourse as similar to psychoanalytical discourse—but how do these discourses understand, uses, think about representing ambiguities, marginalities etc—what are the assumptions of power underlying—

When is art— Art as a when ethics being situational blah, blah—

Derrida, chronology is ideology: (me) evolution——religious view of time—what does this change— What is a religious view of time—

Contact—the pre space—is there anything outside the system of reference—is there any meaning outside of context— That is a good question.

Is evolution a vehicle on the desire highway— The desire to live to reproduce: what is the evolution of desire in a biological sense, in a capitalist sense etc.—

How do we create spaces of rate increased evolution that does not negate or project ideology— This is ultimate in considering the other and all the other psycho analytic mumbo about linguistics and desire— is this a reflexiveness— is reflexiveness a word not worthy of the attempt: is anthropology attempting anything relevant— The interdisciplinary nature of the field, eh—

Is evolution measured in degrees— Duchamp’s dust raising—can evolution be measure by bodily effects— Tangible and in the moment——collision, repulsion, collusion, is duchamp have my picture of evolution— The dust raising—is this a different sort of emergence—and thus another—yet different interaction with the other—and isn’t this what I desire!

What part of the cell reaches out to another—structure of a body—narrative—desire—environment—context

Monster Process: repetition and variation: in an embodied process of representation and variation the copying and practice of random or pseudo random constriction: is this how velocity is created or rate—is this the monstrous thing—what illimits the human——diffraction—dialogic—power—ideology—regimes—discourse—etc..

Monster Process: repetition and variation: takes a position on process of identity: no universals: continued performance of a constantly variable transformation or a repetition of a performance that is continually variable: can this embody ambiguity in process/product: interlope: boundarylessness: the repetition of a monster—

Sentience of the streaming: spectral

What do I desire in my writing life— Shadow realities: places I keep myself from: what of myself as a structure of systems: is that what a human is—

To be more human, cyborg

What tears matter——how do we then put the matter back together—the metaphoric tearing of basic elements

Presumptions and assumptions of our own ideology—is there any TRUE meaning—this is what reading is all about--$ value—doctors—diagnosis/treatment—fixity of sign and meaning—look at a body—look at art etc—a new discourse or aesthetics—what makes discourse, is $ a motivation or is it $ intermingled with the
economics of the people in the discourse—the notion of interpretations becomes professionalized—benefits— Cons—

Style— A question of bibliography and the manifestations of an ideological bibliography and a bibliography ideology—a collage or culmination of discourse effects—being/body as art—transformative vs.
static—does style justify and define the self in society—does art like the body produce the discourse it is relegated to

Power—given through discourse—doctor, body—doctor, art—inheritance of power—discourse—knowledge--$-- does discourse always commodify—

Wolfman—the moon—the water—pre-emergence—what factors pre-exist the wolf—of the wolfman—

Unpredicability—nature—ephemeral art—suburban or urban—art by accident—vegas baudrillard—spectacle guy debord

Hypnogogic hallucination—part of the brain is still dreaming after you wake

Writing the pre-body—in biological time(?) can we be the cyborg—genderless—not bound to an original—genderless but desirefull—not asexual but multiply sexual—

It is not the force of the individual but the question of population—gradual processes—no change to the eye—what does that mean——what about the context of desires——yes—not the argument of desire—what is accuracy in prebecoming or prebiology—compression, contraction, expansion of cellular matter—the tides—slime mold of the earth body annotate the streaming

2nd person—the set-up—hypertext—choose your own control—

Architecture—how do I construct a multiple, permutable, destination or roof or view or perspective, albeit a willingly uncontrolled view or roof or perspective— Oh yeah and sensor! Beyond the eyes—this is my trajectory—where will the drama of play lead to—what does this say or imply about how to present the subject or more clearly the "I"—alternate suggestions of narrative subject in order to create limitless pathways throughout a set or set-up world of language

Octavia Butler’s Bloodchild—the body—art—alien impregnation—social nature of this—what is it to defer—differ—diffract codes—spaces and species—precontact zones

Cycles of manipulation, constriction—random prolifereations—erasure of erasures—cut-ups of cut-ups—copies of copies—membrane attachments—embody repetition and variation on macro-micro-levels—in process and in product(whatever that is)

Is the monstrous part the randomness of the evolution of disparate parts connected to a single membrane—representations of various elements in a reconfigured membrane—a leaf copied is now paper——what
is a thing without a name—

Where is ethics in this discussion—Alarm—the architecture of the art world—interconnected networks dealers, consumeres, curators, has become primary relegating the work itself to a secondary—value—objects in the world become knowable—managerial corporate capitalism—process thing machine—the modern department
store—the modern museum—the modem museum—cities efficient machines for production—huge upheavals of people in the industrial revolution—evolution here— Rate— Industry creates serfdom—enter the price is right and the American dream, manifest destiny etc—art provides a secular religion to deal with the giant upheavals of society and identity brought by industry--the dialogic alternative—a ThePriceIsRight proposed hypothesis that changes in the hands of viewers—

Art makes religion and the world possible—art problematizes the religion and the world—the pharmakon

What is needed for a body to rearticulate itself—extra appendages, image— what is adaptation in writing, cellular movement, sight, smell, sound, touch, what matter—when are you expressing more by what you’re not vs. expressing by what you are—signification—the other—replication—can I write a mutating virus—memory—dormancy—activate the dormant virus—is a monster just a non defined non closed system—Haraway through me—the body of rearticulation of socially interactive bodies, dormant and activemystical, biological, material, pathological, ideological, human and non-human histories—this is an act of transformative mutation—a
monster is my liver—my liver is a monster—how do I rearticulate these social actions in my textual experiences——vicuna/jaar—do I create a create a monster or body that points to the rearticulation of social and thus inevitable transformations or do I create a text that tries to