Tuesday, 19 January 2010

A rare glimpse of the cave of crystals




A rare glimpse of the cave of crystals
Mexico's Cave of Crystals stunned geologists when it was first discovered in 2000. The underground chamber contains some of the largest natural crystals ever found - some of the selenite structures have grown to more than 10m long. Professor Iain Stewart got a rare glimpse of the subterranean spectacle while filming for the new BBC series How the Earth Made Us.



"you can see through them, their so transluscent, and there's diufferent types,
you can see those are like roses building up the then theeese...
columns like perils....."

a proffesor describing the same materials

Monday, 18 January 2010

GERHARD RICHTER



Richter, Gerhard: 1024 Colours (1973)

The Independent's Great Art series

By Tom Lubbock


Friday, 11 April 2008
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Centre Pompidou, Paris
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Also in this article: About the artist


One should never underestimate the power of meaninglessness. Late 20th-century art certainly didn't. The painted void, the wholly meaningless, utterly indifferent picture, became a quest. One common solution was extremely minimal: the "monochrome", the single-coloured canvas. Another, still more powerful, was a bit more maximal. It involved a multitude of colours.

Gerhard Richter's 1024 Colours is a great wall of indifference. It consists of a regular grid of 1,024 coloured oblong units, divided by a network of white lines. It's 32 units high by 32 units wide. Each oblong is a double square, and the picture itself is approximately a double square.

Formally, it's an overtly overwhelming painting. It's very big, for one thing, almost five metres across, with a panoramic format that fills your field of vision. With its layout of repeated flat units, it faces you unremittingly. Its multiplicity is excessive: the number of its distinct bits appears as a sheer ungraspable proliferation. And its all-over grid makes it a completely full canvas, evenly occupied from top to bottom, side to side, without any slackening of visual pressure. But what exactly is there to see?

Put out some preliminary probes. Perhaps there's an image in there? For centuries, Western picture-viewers have learnt how to deal with a chaotic-looking, bits-and-pieces painting: stand back, blur your vision, and wait for something to materialise. But 1024 Colours yields nothing of that sort. These aren't pixels that resolve into a picture, or into any other kind of abstract shape or decorative pattern.

So, what about the colours themselves, do they have a sense? The painting obviously resembles a commercial colour chart. But equally obviously, its colours are not grouped together as on one of those charts. They lie scattered and mixed up, apparently at random. Nor is there any bias in the choice of colours that would establish a particular colour scheme. At a glance, it seems that all the colours in all their variations are present.

What you suspect is in fact the case. The colours have not been selected. They are a "complete" set, 1,024 different colours, devised according to a programme, and covering the full range of hue, strength and brightness. Each unit is a different colour. The large number of near-blacks are simply the darkest shades. There's no arrangement either. The colours are distributed across the grid at random. There are, of course, gazillions of possible permutations. (1,024 x 1,023 x 1,022 x... x 3 x 2 x 1 is the formula for how many.) Richter painted 1024 Colours in four different random versions. This one is the third version.

1024 Colours is, in other words, a painting all made up of colours where the choice and disposition of colours are matters of total indifference. Human design has no role in it. It might as well have been composed by a machine. It might as well have been painted by one, too. It's executed in enamel gloss, the least flexible of paints. The paint is put on uniformly, with no trace of handiwork.

The network of white lines prevents one unit of colour from touching, chiming and blending with another. Even the possibility of chance harmonies occurring among the random colours is eliminated. Colour, famous for being the most passionate element of the art of painting, is reduced to a sequence of separate neutral samples.

1024 Colours seems designed to be mute and blank, a grand negation of painting and its traditional satisfactions. Surely, whatever interest we try to take in it, it will not respond or resonate. But, strangely, this isn't so. Its very indifference becomes a kind of perfection and a kind of force. Its defiant negatives turn out to be almost indistinguishable from painting's traditional qualities.

Random distribution, for instance, is an excellent way of making a balanced composition. A chance scattering of a compendium of colours across a regular grid will generate automatically the kind of equilibrium that hand and eye would struggle to achieve. At the same time, the completeness of the palette, with every colour represented, gives a sense of great abundance, while the unpredictability of arrangement prevents this from becoming a mere glut, produces an impression of inexhaustible variety.

There is a constant dialogue between parts and whole. Presented with a variegated surface, your eye naturally seeks patterns in it, subdivisions, some kind of internal order. With 1024 Colours, it can have a transient success, as it latches on to, say, the undulations and knots made by some of the lighter units. The field of multicoloured bits is endlessly generative of these configurations.

But these patterns can never be fixed on securely. Your eye is always likely to be thrown outwards towards the picture as a whole, with its firmly sustaining structure of rows and columns. Alternatively, your eye falls inwards, upon the individual oblongs of colour, which may be picked out, one by one, each one transmitting its singular identity.

Thus, this wholly indifferent composition performs like a great classical masterpiece. It achieves, without trying, the classical virtues of balance, plenitude, variety, unity-in-multiplicity, inexhaustible richness. Though constructed on the model of a colour chart, it comes to feel like a real painting.

In fact, it's a much stronger work than any actual classical masterpiece. Next to it, every handcrafted, human-designed painting is going to look vulnerable, flawed, wonky. It will be making gestures, having ideas, trying to do things that almost certainly won't quite come off.

1024 Colours has no purposes that can fail, no impulse within it that might disturb its performance. It works by itself. Its magnificence is 100 per cent reliable, 100 per cent risk-free. In fact, it's more like an exposing parody of those classical virtues (balance, abundance, unity etc), demonstrating how they can be delivered, in pure form, with no struggle, just by applying a programme and throwing a dice.

The artist

Gerhard Richter (born 1932) hasn't stopped painting. Though suffering a total loss of belief in his art, he kept going. He has been compared to the Christian theologian who said, "I believe because it is absurd". East-German born, trained in Socialist Realism, he came West and practised a form of Pop Art he called Capitalist Realism. He has painted images transcribed from found photos. He has painted abstractions generated by chance and mechanical operations. He has painted pure grey pictures and colour charts. He tries to detach painting from its traditional values: observational truth, expressive handiwork, creativity. He is a technical wizard, with a genius for self-effacement, so his work acquires the mystery and authority of something that's appeared from nowhere.


HE CREATES A NEW WAY OF LOOKING AT REALITY AND PEOPLE LIKE THIS.
KNOWN FOR NOT BEING DEDICATED TO ONE STYLE OF CREATION. +*+*+*+*+*+*+*+*+*+*

SOMETHING ABOUT ALBERS SAYING THAT COLOURS ONLY GO WITH OTHER SPEICAL COLOURS AND ITS HIGH ART TO MAKE THEM WORK. RICHTER SAYS THIS ISNT TRUE. ANY COLOURS CAN GO WITH ANY COLOURS AND LOOK BEAUTIFUL. THIS IDEA OF THERE BEING ONE PAINTING BUT MANY DIFFERENT VERSIONS.

MATTHEW BOURNES - SWAN LAKE






Since going to Beatrix potter I decided to see another ballet and i swear to god I have never ever witnessed anything so beautiful in my life. i cried thorugh the second half, espeically the bit where people let him down over and over ahgain and hes just craving for love from his mother and from the male swan and from everybody. and he gets humiliated in front of everyone and they all laugh at him and you see his jealousy and hurt and lonliness. and when he tries to force his mother to care and how she rejects him and makes him stand properly in front of the mirror. how he gets lost in alcohol and women and the poses of how he tries to get away from it but he cant.
the rejection is something i face everyday from unforseen circumstances in my life. the frustration i get from not being able to communicate with my mother, the lonliness and rejection i get from her drinking. the need to push ppl to be there for me when they wont be. I cant describe how much i related to that ballet. and this is exactly the kind of work i want to make.
that feeling of just complete rejection and lonliness. this sadness to keep living without something that feels neccessary but obviosulyn isnt because im still functioning. that missing piece. that longing which drives u into dispair and makes u drink and makes the voice and clock tick and tock.
it was beyond euphoric.
I also loved the modern take on things with the little lady that fed ducks and the club.

also i realised that the setting are always the generic setting of a castle. like the ones that would be in a fariy tale. you wouldnt actually see these kind of objects in real life unless u went to disney world or something. it didnt look like anything from real life but it looked so familiar.

similar to what james was saying about the generic lamp where an artist wanted to cast a generic lamp but couldnt find it and ended up taking lots of different bits from different lamps and stuck them 2gether to make the right one. that feeling u get when something is right or wrong but u cant find it in reality.

introducing this into my work. this is where the solar system went wrong.

pierre bourdieu class and classificsations.

Pierre Bourdieu 1979

Classes and Classifications

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Source: Distinctions. A Social Critique of the Judgment of Taste. Conclusion. 1984, translated by Richard Nice, published by Harvard University Press, 1984, 604pp. – selected from pp. 466-484.


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Taste is an acquired disposition to ‘differentiate’ and ‘appreciate’, as Kant says — in other words, to establish and mark differences by a process of distinction which is not (or not necessarily) a distinct knowledge, in Leibniz’s sense, since it ensures recognition (in the ordinary sense) of the object without implying knowledge of the distinctive features which define it. The schemes of the habitus, the primary forms of classification, owe their specific efficacy to the fact that they function below the level of consciousness and language, beyond the reach of introspective scrutiny or control by the will. Orienting practices practically, they embed what some would mistakenly call values in the most automatic gestures or the apparently most insignificant techniques of the body — ways of walking or blowing one’s nose, ways of eating or talking — and engage the most fundamental principles of construction and evaluation of the social world, those which most directly express the division of labour (between the classes, the age groups and the sexes) or the division of the work of domination, in divisions between bodies and between relations to the body which borrow more features than one, as if to give them the appearances of naturalness, from the sexual division of labour and the division of sexual labour. Taste is a practical mastery of distributions which makes it possible to sense or intuit what is likely (or unlikely) to befall — and therefore to befit — an individual occupying a given position in social space. It functions as a sort of social orientation, a ‘sense of one’s place’, guiding the occupants of a given place in social space towards the social positions adjusted to their properties, and towards the practices or goods which befit the occupants of that position. It implies a practical anticipation of what the social meaning and value of the chosen practice or thing will probably be, given their distribution in social space and the practical knowledge the other agents have of the correspondence between goods and groups.

Thus, the social agents whom the sociologist classifies are producers not only of classifiable acts but also of acts of classification which are themselves classified. Knowledge of the social world has to take into account a practical knowledge of this world which pre-exists it and which it must not fail to include in its object, although, as a first stage, this knowledge has to be constituted against the partial and interested representations provided by practical knowledge. To speak of habitus is to include in the object the knowledge which the agents, who are part of the object, have of the object, and the contribution this knowledge makes to the reality of the object. But it is not only a matter of putting back into the real world that one is endeavouring to know, a knowledge of the real world that contributes to its reality (and also to the force it exerts). It means conferring on this knowledge a genuinely constitutive power, the very power it is denied when, in the name of an objectivist conception of objectivity, one makes common knowledge or theoretical knowledge a mere reflection of the real world.

Those who suppose they are producing a materialist theory of knowledge when they make knowledge a passive recording and abandon the ‘active aspect’ of knowledge to idealism, as Marx complains in the Theses on Feuerbach, forget that all knowledge, and in particular all knowledge of the social world, is an act of construction implementing schemes of thought and expression, and that between conditions of existence and practices or representations there intervenes the structuring activity of the agents, who, far from reacting mechanically to mechanical stimulations, respond to the invitations or threats of a world whose meaning they have helped to produce. However, the principle of this structuring activity is not, as an intellectualist and anti-genetic idealism would have it, a system of universal forms and categories but a system of internalized, embodied schemes which, having been constituted in the course of collective history, are acquired in the course of individual history and function in their practical state, for practice (and not for the sake of pure knowledge).

Embodied Social Structures
This means, in the first place, that social science, in constructing the social world, takes note of the fact that agents are, in their ordinary practice, the subjects of acts of construction of the social world; but also that it aims, among other things, to describe the social genesis of the principles of construction and seeks the basis of these principles in the social world. Breaking with the anti-genetic prejudice which often accompanies recognition of the active aspect of knowledge, it seeks in the objective distributions of properties, especially material ones (brought to light by censuses and surveys which all presuppose selection and classification), the basis of the systems of classification which agents apply to every sort of thing, not least to the distributions themselves. In contrast to what is sometimes called the ‘cognitive’ approach, which, both in its ethnological form (structural anthropology, ethnoscience, ethnosemantics, ethnobotany etc.) and in its sociological form (interactionism, ethnomethodology etc.), ignores the question of the genesis of mental structures and classifications, social science enquires into the relationship between the principles of division and the social divisions (between the generations, the sexes etc.) on which they are based, and into the variations of the use made of these principles according to the position occupied in the distributions (questions which all require the use of statistics).

The cognitive structures which social agents implement in their practical knowledge of the social world are internalized, ‘embodied’ social structures. The practical knowledge of the social world that is presupposed by ‘reasonable’ behaviour within it implements classificatory schemes (or ‘forms of classification’, ‘mental structures’ or ‘symbolic forms’ — apart from their connotations, these expressions are virtually interchangeable), historical schemes of perception and appreciation which are the product of the objective division into classes (age groups, genders, social classes) and which function below the level of consciousness and discourse. Being the product of the incorporation of the fundamental structures of a society, these principles of division are common to all the agents of the society and make possible the production of a common, meaningful world, a common-sense world.

All the agents in a given social formation share a set of basic perceptual schemes, which receive the beginnings of objectification in the pairs of antagonistic adjectives commonly used to classify and qualify persons or objects in the most varied areas of practice. The network of oppositions between high (sublime, elevated, pure) and low (vulgar, low, modest), spiritual and material, fine (refined, elegant) and coarse (heavy, fat, crude, brutal), light (subtle, lively, sharp, adroit) and heavy (slow, thick, blunt, laborious, clumsy), free and forced, broad and narrow, or, in another dimension, between unique (rare, different, distinguished, exclusive, exceptional, singular, novel) and common (ordinary, banal, commonplace, trivial, routine), brilliant (Intelligent) and dull (obscure, grey, mediocre), is the matrix of all the commonplaces which find such ready acceptance because behind them lies the whole social order. The network has its ultimate source in the opposition between the ‘elite’ of the dominant and the ‘mass’ of the dominated, a contingent, disorganized multiplicity, interchangeable and innumerable, existing only statistically. These mythic roots only have to be allowed to take their course in order to generate, at will, one or another of the tirelessly repeated themes of the eternal sociodicy, such as apocalyptic denunciations of all forms of ‘levelling’, ‘trivialization’ or ‘massification’, which identify the decline of societies with the decadence of bourgeois houses, i.e., a fall into the homogeneous, the undifferentiated, and betray an obsessive fear of number, of undifferentiated hordes indifferent to difference and constantly threatening to submerge the private spaces of bourgeois exclusiveness.

The seemingly most formal oppositions within this social mythology always derive their ideological strength from the fact that they refer back, more or less discreetly, to the most fundamental oppositions within the social order: the opposition between the dominant and the dominated, which is inscribed in the division of labour, and the opposition, rooted in the division of the labour of domination, between two principles of domination, two powers, dominant and dominated, temporal and spiritual, material and intellectual etc. It follows that the map of social space previously put forward can also be read as a strict table of the historically constituted and acquired categories which organize the idea of the social world in the minds of all the subjects belonging to that world and shaped by it. The same classificatory schemes (and the oppositions in which they are expressed) can function, by being specified, in fields organized around polar positions, whether in the field of the dominant class, organized around an opposition homologous to the opposition constituting the field of the social classes, or in the field of cultural production, which is itself organized around oppositions which reproduce the structure of the dominant class and are homologous to it (e.g., the opposition between bourgeois and avant-garde theatre). So the fundamental opposition constantly supports second, third or nth rank oppositions (those which underlie the ‘purest’ ethical or aesthetic judgements, with their high or low sentiments, their facile or difficult notions of beauty, their light or heavy styles etc.), while euphemizing itself to the point of misrecognizability.

Thus, the opposition between the heavy and the light, which, in a number of its uses, especially scholastic ones, serves to distinguish popular or petit-bourgeois tastes from bourgeois tastes, can be used by theatre criticism aimed at the dominant fraction of the dominant class to express the relationship between ‘Intellectual’ theatre, which is condemned for its ‘laborious’ pretensions and ‘oppressive’ didacticism, and ‘bourgeois’ theatre, which is praised for its tact and its art of skimming over surfaces. By contrast, ‘Intellectual’ criticism, by a simple inversion of values, expresses the relationship in a scarcely modified form of the same opposition, with lightness, identified with frivolity, being opposed to profundity. Similarly, it can be shown that the opposition between right and left, which, in its basic form, concerns the relationship between the dominant and the dominated, can also, by means of a first transformation, designate the relations between dominated fractions and dominant fractions within the dominant class; the words right and left then take on a meaning close to the meaning they have in expressions like ‘right-bank’ theatre or ‘left-bank’ theatre. With a further degree of ‘de-realization’, it can even serve to distinguish two rival tendencies within an avant-garde artistic or literary group, and so on.

It follows that, when considered in each of their uses, the pairs of qualifiers, the system of which constitutes the conceptual equipment of the judgement of taste, are extremely poor, almost indefinite, but, precisely for this reason, capable of eliciting or expressing the sense of the indefinable. Each particular use of one of these pairs only takes on its full meaning in relation to a universe of discourse that is different each time and usually implicit — since it is a question of the system of self-evidences and presuppositions that are taken for granted in the field in relation to which the speakers’ strategies are defined. But each of the couples specified by usage has for undertones all the other uses it might have — because of the homologies between the fields which allow transfers from one field to another — and also all the other couples which are interchangeable with it, within a nuance or two (e.g., fine/crude for light/heavy), that is, in slightly different contexts.

The fact that the semi-codified oppositions contained in ordinary language reappear, with very similar values, as the basis of the dominant vision of the social world, in all class-divided social formations (consider the tendency to see the ‘people’ as the site of totally uncontrolled appetites and sexuality) can be understood once one knows that, reduced to their formal structure, the same fundamental relationships, precisely those which express the major relations of order (high/low, strong/weak etc.) reappear in all class-divided societies. And the recurrence of the triadic structure studied by Georges Dumézil, which Georges Duby shows in the case of feudal society to be rooted in the social structures it legitimates, may well be, like the invariant oppositions in which the relationship of domination is expressed, simply a necessary outcome of the intersection of the two principles of division which are at work in all class-divided societies — the division between the dominant and the dominated, and the division between the different fractions competing for dominance in the name of different principles, bellatores (warriors) and oratores (scholars) in feudal society, businessmen and intellectuals now.

Knowledge without Concepts
Thus, through the differentiated and differentiating conditionings associated with the different conditions of existence, through the exclusions and inclusions, unions (marriages, affairs, alliances etc.) and divisions (incompatibilities, separations, struggles etc.) which govern the social structure and the structuring force it exerts, through all the hierarchies and classifications inscribed in objects (especially cultural products), in institutions (for example, the educational system) or simply in language, and through all the judgements, verdicts, gradings and warnings imposed by the institutions specially designed for this purpose, such as the family or the educational system, or constantly arising from the meetings and interactions of everyday life, the social order is progressively inscribed in people’s minds. Social divisions become principles of division, organizing the image of the social world. Objective limits become a sense of limits, a practical anticipation of objective limits acquired by experience of objective limits, a ‘sense of one’s place’ which leads one to exclude oneself from the goods, persons, places and so forth from which one is excluded.

The sense of limits implies forgetting the limits. One of the most important effects of the correspondence between real divisions and practical principles of division, between social structures and mental structures, is undoubtedly the fact that primary experience of the social world is that of doxa, an adherence to relations of order which, because they structure inseparably both the real world and the thought world, are accepted as self-evident. Primary perception of the social world, far from being a simple mechanical reflection, is always an act of cognition involving principles of construction that are external to the constructed object grasped in its immediacy; but at the same time it is an act of miscognition, implying the most absolute form of recognition of the social order. Dominated agents, who assess the value of their position and their characteristics by applying a system of schemes of perception and appreciation which is the embodiment of the objective laws whereby their value is objectively constituted, tend to attribute to themselves what the distribution attributes to them, refusing what they are refused (’that’s not for the likes of us’), adjusting their expectations to their chances, defining themselves as the established order defines them, reproducing in their verdict on themselves the verdict the economy pronounces on them, in a word, condemning themselves to what is in any case their lot, ta heautou, as Plato put it, consenting to be what they have to be, ‘modest’, ‘humble’ and ‘obscure’. Thus the conservation of the social order is decisively reinforced by what Durkheim called ‘logical conformity,’ i.e., the orchestration of categories of perception of the social world, which, being adjusted to the divisions of the established order (and thereby to the interests of those who dominate it) and common to all minds structured in accordance with those structures, present every appearance of objective necessity.

The system of classificatory schemes is opposed to a taxonomy based on explicit and explicitly concerted principles in the same way that the dispositions constituting taste or ethos (which are dimensions of it) are opposed to aesthetics or ethics. The sense of social realities that is acquired in the confrontation with a particular form of social necessity is what makes it possible to act as if one knew the structure of the social world, one’s place within it and the distances that need to be kept.

The practical mastery of classification has nothing in common with the reflexive mastery that is required in order to construct a taxonomy that is simultaneously coherent and adequate to social reality. The practical ‘science’ of positions in social space is the competence presupposed by the art of behaving comme il faut with persons and things that have and give ‘class’ (’smart’ or ‘unsmart’), finding the right distance, by a sort of practical calculation, neither too close (‘getting familiar’) nor too far (‘being distant’), playing with objective distance by emphasizing it (being ‘aloof’, ‘stand-offish’) or symbolically denying it (being ‘approachable,’ ‘hobnobbing’). It in no way implies the capacity to situate oneself explicitly in the classification (as so many surveys on social class ask people to do), still less to describe this classification in any systematic way and state its principles.

The practical ‘attributive judgement’ whereby one puts someone in a class by speaking to him in a certain way (thereby putting oneself in a class at the same time) has nothing to do with an intellectual operation implying conscious reference to explicit indices and the implementation of classes produced by and for the concept. The same classificatory opposition (rich/poor, young/old etc.) can be applied at any point in the distribution and reproduce its whole range within any of its segments (common sense tells us that one is always richer or poorer than someone, superior or inferior to someone, more right-wing or left-wing than someone — but this does not entail an elementary relativism).

It is not surprising that it is possible to fault the practical sense of social space which lies behind class-attributive judgement; the sociologists who use their respondents’ self-contradictions as an argument for denying the existence of classes simply reveal that they understand nothing of how this ‘sense’ works or of the artificial situation in which they are making it work. In fact, whether it is used to situate oneself in social space or to place others, the sense of social space, like every practical sense, always refers to the particular situation in which it has to orient practices. This explains, for example, the divergences between surveys of the representation of the classes in a small town (‘community studies’) and surveys of class on a nation-wide scale. But if, as has often been observed, respondents do not agree either on the number of divisions they make within the group in question, or on the limits of the ‘strata’ and the criteria used to define them, this is not simply due to the fuzziness inherent in all practical logics. It is also because people’s image of the classification is a function of their position within it.

So nothing is further removed from an act of cognition, as conceived by the intellectualist tradition, than this sense of the social structure, which, as is so well put by the word taste — simultaneously ‘the faculty of perceiving flavours’ and ‘the capacity to discern aesthetic values’ — is social necessity made second nature, turned into muscular patterns and bodily automatisms. Everything takes place as if the social conditionings linked to a social condition tended to inscribe the relation to the social world in a lasting, generalized relation to one’s own body, a way of bearing one’s body, presenting it to others, moving it, making space for it, which gives the body its social physiognomy. Bodily hexis, a basic dimension of the sense of social orientation, is a practical way of experiencing and expressing one’s own sense of social value. One’s relationship to the social world and to one’s proper place in it is never more clearly expressed than in the space and time one feels entitled to take from others; more precisely, in the space one claims with one’s body in physical space, through a bearing and gestures that are self-assured or reserved, expansive or constricted (‘presence’ or ‘insignificance’) and with one’s speech in time, through the interaction time one appropriates and the self-assured or aggressive, careless or unconscious way one appropriates it.

There is no better image of the logic of socialization, which treats the body as a ‘memory-jogger’, than those complexes of gestures, postures and words — simple interjections or favourite clichés — which only have to be slipped into, like a theatrical costume, to awaken, by the evocative power of bodily mimesis, a universe of ready-made feelings and experiences. The elementary actions of bodily gymnastics, especially the specifically sexual, biologically pre-constructed aspect of it, charged with social meanings and values, function as the most basic of metaphors, capable of evoking a whole relationship to the world, ‘lofty’ or ‘submissive’, ‘expansive’ or ‘narrow’, and through it a whole world. The practical ‘choices’ of the sense of social orientation no more presuppose a representation of the range of possibilities than does the choice of phonemes; these enacted choices imply no acts of choosing. The logocentrism and intellectualism of intellectuals, combined with the prejudice inherent in the science which takes as its object the psyche, the soul, the mind, consciousness, representations, not to mention the petit-bourgeois pretension to the status of ‘person’, have prevented us from seeing that, as Leibiniz put it, ‘we are automatons in three-quarters of what we do’, and that the ultimate values, as they are called, are never anything other than the primary, primitive dispositions of the body, ‘visceral’ tastes and distastes, in which the group’s most vital interests are embedded, the things on which one is prepared to stake one’s own and other people’s bodies. The sense of distinction, the discretio (discrimination) which demands that certain things be brought together and others kept apart, which excludes all misalliances and all unnatural unions — i.e., all unions contrary to the common classification, to the diacrisis (separation) which is the basis of collective and individual identity — responds with visceral, murderous horror, absolute disgust, metaphysical fury, to everything which lies in Plato’s ‘hybrid zone’, everything which passes understanding, that is, the embodied taxonomy, which, by challenging the principles of the incarnate social order, especially the socially constituted principles of the sexual division of labour and the division of sexual labour, violates the mental order, scandalously flouting common sense.

Advantageous Attributions
The basis of the pertinence principle which is implemented in perceiving the social world and which defines all the characteristics of persons or things which can be perceived, and perceived as positively or negatively interesting, by all those who apply these schemes (another definition of common sense), is based on nothing other than the interest the individuals or groups in question have in recognizing a feature and in identifying the individual in question as a member of the set defined by that feature; interest in the aspect observed is never completely independent of the advantage of observing it. This can be clearly seen in all the classifications built around a stigmatized feature which, like the everyday opposition between homosexuals and heterosexuals, isolate the interesting trait from all the rest ( i.e., all other forms of sexuality), which remain indifferent and undifferentiated. It is even clearer in all ‘labelling judgements’, which are in fact accusations, categoremes in the original Aristotelian sense, and which, like insults, only wish to know one of the properties constituting the social identity of an individual or group (‘You’re just a ...’), regarding, for example, the married homosexual or converted Jew as a ‘closet queen’ or covert Jew, and thereby in a sense doubly Jewish or homosexual. The logic of the stigma reminds us that social identity is the stake in a struggle in which the stigmatized individual or group, and, more generally, any individual or group insofar as he or it is a potential object of categorization, can only retaliate against the partial perception which limits it to one of its characteristics by highlighting, in its self-definition, the best of its characteristics, and, more generally, by struggling to impose the taxonomy most favourable to its characteristics, or at least to give to the dominant taxonomy the content most flattering to what it has and what it is.

Those who are surprised by the paradoxes that ordinary logic and language engender when they apply their divisions to continuous magnitudes forget the paradoxes inherent in treating language as a purely logical instrument and also forget the social situation in which such a relationship to language is possible. The contradictions or paradoxes to which ordinary language classifications lead do not derive, as all forms of positivism suppose, from some essential inadequacy of ordinary language, but from the fact that these socio-logical acts are not directed towards the pursuit of logical coherence and that, unlike philological, logical or linguistic uses of language — which ought really to be called scholastic, since they all presuppose schole, i.e., leisure, distance from urgency and necessity, the absence of vital stakes, and the scholastic institution which in most social universes is the only institution capable of providing all these — they obey the logic of the parti pris, which, as in a court-room, juxtaposes not logical judgements, subject to the sole criterion of coherence, but charges and defences. Quite apart from all that is implied in the oppositions, which logicians and even linguists manage to forget, between the art of convincing and the art of persuading, it is clear that scholastic usage of language is to the orator’s, advocate’s or politician’s usage what the classificatory systems devised by the logician or statistician concerned with coherence and empirical adequacy are to the categorizations and categoremes of daily life. As the etymology suggests, the latter belong to the logic of the trial. Every real inquiry into the divisions of the social world has to analyse the interests associated with membership or non-membership. As is shown by the attention devoted to strategic, ‘frontier’ groups such as the ‘labour aristocracy’, which hesitates between class struggle and class collaboration, or the ‘cadres’, a category of bureaucratic statistics, whose nominal, doubly negative unity conceals its real dispersion both from the ‘interested parties’ and from their opponents and most observers, the laying down of boundaries between the classes is inspired by the strategic aim of ‘counting in’ or ‘being counted in’, ‘cataloguing’ or ‘annexing’, when it is not the simple recording of a legally guaranteed state of the power relation between the classified groups.

Leaving aside all cases in which the statutory imposition of an arbitrary boundary (such as a 30-kilo limit on baggage or the rule that a vehicle over two tons is a van) suffices to eliminate the difficulties that arise from the sophism of the heap of grain, boundaries — even the most formal-looking ones, such as those between age-groups — do indeed freeze a particular state of social struggles, i.e., a given state of the distribution of advantages and obligations, such as the right to pensions or cheap fares, compulsory schooling or military service. And if we are amused by Alphonse Allais’s story of the father who pulls the communication cord to stop the train at the very moment his child becomes three years old (and so needs a ticket to travel), it is because we immediately see the sociological absurdity of an imaginary variation which is as impeccably logical as those on which logicians base their beloved paradoxes. Here the limits are frontiers to be attacked or defended with all one’s strength, and the classificatory systems which fix them are not so much means of knowledge as means of power, harnessed to social functions and overtly or covertly aimed at satisfying the interests of a group.

Commonplaces and classificatory systems are thus the stake of struggles between the groups they characterize and counterpose, who fight over them while striving to turn them to their own advantage. Georges Duby shows how the model of the three orders, which fixed a state of the social structure and aimed to make it permanent by codifying it, was able to be used simultaneously and successively by antagonistic groups: first by the bishops, who had devised it, against the heretics, the monks and the knights; then by the aristocracy, against the bishops and the king; and finally by the king, who, by setting himself up as the absolute subject of the classifying operation, as a principle external and superior to the classes it generated (unlike the three orders, who were subjects but also objects, judges but also parties), assigned each group its place in the social order, and established himself as an unassailable vantage-point. In the same way it can be shown that the schemes and commonplaces which provide images of the different forms of domination, the opposition between the sexes and age-groups. as well as the opposition between the generations, are similarly manipulated. The ‘young’ can accept the definition that their elders offer them, take advantage of the temporary licence they are allowed in many societies (‘Youth must have its fling’), do what is assigned to them, revel in the ‘specific virtues’ of youth, virtú, virility, enthusiasm, and get on with their own business — knight-errantry for the scions of the mediaeval aristocracy, love and violence for the youth of Renaissance Florence, and every form of regulated, ludic wildness (sport, rock etc.) for contemporary adolescents — in short, allow themselves to be kept in the state of ‘youth’, that is, irresponsibility, enjoying the freedom of irresponsible behaviour in return for renouncing responsibility. In situations of specific crisis, when the order of successions is threatened, ‘young people’, refusing to remain consigned to ‘youth’, tend to consign the ‘old’ to ‘old age’. Wanting to take the responsibilities which define adults (in the sense of socially complete persons), they must push the holders of responsibilities into that form of irresponsibility which defines old age, or rather retirement. The wisdom and prudence claimed by the elders then collapse into conservatism, archaism or, quite simply, senile irresponsibility. The newcomers, who are likely to be also the biologically youngest, but who bring with them many other distinctive properties, stemming from changes in the social conditions of production of the producers (i.e., principally the family and the educational system), escape the more rapidly from ‘youth’ (irresponsibility) the readier they are to break with the irresponsible behaviour assigned to them and, freeing themselves from the internalized limits (those which may make a 50-year-old feel ‘too young reasonably to aspire’ to a position or an honour), do not hesitate to push forward, ‘leap-frog’ and ‘take the escalator’ to precipitate their predecessors’ fall into the past, the outdated, in short, social death. But they have no chance of winning the struggles over the limits which break out between the age-groups when the sense of the limits is lost, unless they manage to impose a new definition of the socially complete person, including in it characteristics normally (i.e., in terms of the prevailing classificatory principle) associated with youth (enthusiasm, energy and so on) or characteristics that can supplant the virtues normally associated with adulthood.

In short, what individuals and groups invest in the particular meaning they give to common classificatory systems by the use they make of them is infinitely more than their ‘interest’ in the usual sense of the term; it is their whole social being, everything which defines their own idea of themselves, the primordial, tacit contract whereby they define ‘us’ as opposed to ‘them’, ‘other people’, and which is the basis of the exclusions (‘not for the likes of us’) and inclusions they perform among the characteristics produced by the common classificatory system.

The fact that, in their relationship to the dominant classes, the dominated classes attribute to themselves strength in the sense of labour power and fighting strength — physical strength and also strength of character, courage, manliness — does not prevent the dominant groups from similarly conceiving the relationship in terms of the scheme strong/weak; but they reduce the strength which the dominated (or the young, or women) ascribe to themselves to brute strength, passion and instinct, a blind, unpredictable force of nature, the unreasoning violence of desire, and they attribute to themselves spiritual and intellectual strength, a self-control that predisposes them to control others, a strength of soul or spirit which allows them to conceive their relationship to the dominated — the ‘masses’, women, the young — as that of the soul to the body, understanding to sensibility, culture to nature.

The Classification-Struggle
Principles of division, inextricably logical and sociological, function within and for the purposes of the struggle between social groups; in producing concepts, they produce groups, the very groups which produce the principles and the groups against which they are produced. What is at stake in the struggles about the meaning of the social world is power over the classificatory schemes and systems which are the basis of the representations of the groups and therefore of their mobilization and demobilization: the evocative power of an utterance which puts things in a different light (as happens, for example, when a single word, such as ‘paternalism’, changes the whole experience of a social relationship) or which modifies the schemes of perception, shows something else, other properties, previously unnoticed or relegated to the background (such as common interests hitherto masked by ethnic or national differences); a separative power, a distinction, diacrisis, discretio, drawing discrete units out of indivisible continuity, difference out of the undifferentiated.

Only in and through the struggle do the internalized limits become boundaries, barriers that have to be moved. And indeed, the system of classificatory schemes is constituted as an objectified, institutionalized system of classification only when it has ceased to function as a sense of limits so that the guardians of the established order must enunciate, systematize and codify the principles of production of that order, both real and represented, so as to defend them against heresy; in short, they must constitute the doxa as orthodoxy. Official systems of classification, such as the theory of the three orders, do explicitly and systematically what the classificatory schemes did tacitly and practically. Attributes, in the sense of predicates, thereby become attributions, powers, capacities, privileges, prerogatives, attributed to the holder of a post, so that war is no longer what the warrior does, but the officium, the specific function, the raison d’être, of the bellator. Classificatory discretio, like law, freezes a certain state of the power relations which it aims to fix forever by enunciating and codifying it. The classificatory system as a principle of logical and political division only exists and functions because it reproduces, in a transfigured form, in the symbolic logic of differential gaps, i.e., of discontinuity, the generally gradual and continuous differences which structure the established order, but it makes its own, that is, specifically symbolic, contribution to the maintenance of that order only because it has the specifically symbolic power to make people see and believe which is given by the imposition of mental structures.

Systems of classification would not be such a decisive object of struggle if they did not contribute to the existence of classes by enhancing the efficacy of the objective mechanisms with the reinforcement supplied by representations structured in accordance with the classification. The imposition of a recognized name is an act of recognition of full social existence which transmutes the thing named. It no longer exists merely de facto, as a tolerated, illegal or illegitimate practice, but becomes a social function, i.e., a mandate, a mission (Beruf), a task, a role — all words which express the difference between authorized activity, which is assigned to an individual or group by tacit or explicit delegation, and mere usurpation, which creates a ‘state of affairs’ awaiting institutionalization. But the specific effect of ‘collective representations’, which, contrary to what the Durkheimian connotations might suggest, may be the product of the application of the same scheme of perception or a common system of classification while still being subject to antagonistic social uses, is most clearly seen when the word precedes the thing, as with voluntary associations that rum into recognized professions or corporate defence groups (such as the trade union of the ‘cadres’), which progressively impose the representation of their existence and their unity, both on their own members and on other groups.

A group’s presence or absence in the official classification depends on its capacity to get itself recognized, to get itself noticed and admitted, and so to win a place in the social order. It thus escapes from the shadowy existence of the nameless crafts of which Emile Benveniste speaks: business in antiquity and the Middle Ages, or illegitimate activities, such as those of the modern healer (formerly called an ‘empiric’), bone-setter or prostitute. The fate of groups is bound up with the words that designate them: the power to impose recognition depends on the capacity to mobilize around a name, ‘proletariat’, ‘working class’, ‘cadres’ etc., to appropriate a common name and to commune in a proper name, and so to mobilize the union that makes them strong, around the unifying power of a word.

In fact, the order of words never exactly reproduces the order of things. It is the relative independence of the structure of the system of classifying, classified words (within which the distinct value of each particular label is defined) in relation to the structure of the distribution of capital, and more precisely, it is the time-lag (partly resulting from the inertia inherent in classification systems as quasi-legal institutions sanctioning a state of a power relation) between changes in jobs, linked to changes in the productive apparatus, and changes in titles, which creates the space for symbolic strategies aimed at exploiting the discrepancies between the nominal and the real, appropriating words so as to get the things they designate, or appropriating things while waiting to get the words that sanction them; exercising responsibilities without having entitlement to do so, in order to acquire the right to claim the legitimate titles, or, conversely, declining the material advantages associated with devalued titles so as to avoid losing the symbolic advantages bestowed by more prestigious labels or, at least, vaguer and more manipulable ones; donning the most flattering of the available insignia, verging on imposture if need be — like the potters who call themselves ‘art craftsmen’, or technicians who claim to be engineers — or inventing new labels, like physiotherapists (kinéséthérapeutes) who count on this new title to separate them from mere masseurs and bring them closer to doctors. All these strategies, like all processes of competition, a paper-chase aimed at ensuring constant distinctive gaps, tend to produce a steady inflation of titles — restrained by the inertia of the institutionalized taxonomies (collective agreements, salary scales etc.) — to which legal guarantees are attached. The negotiations between antagonistic interest groups, which arise from the establishment of collective agreements and which concern, inseparably, the tasks entailed by a given job, the properties required of its occupants (e.g., diplomas) and the corresponding advantages, both material and symbolic (the name), are an institutionalized, theatrical version of the incessant struggles over the classifications which help to produce the classes, although these classifications are the product of the struggles between the classes and depend on the power relations between them.

The Reality of Representation and the Representation of Reality
The classifying subjects who classify the properties and practices of others, or their own, are also classifiable objects which classify themselves (in the eyes of others) by appropriating practices and properties that are already classified (as vulgar or distinguished, high or low, heavy or light etc. — in other words, in the last analysis, as popular or bourgeois) according to their probable distribution between groups that are themselves classified. The most classifying and best classified of these properties are, of course, those which are overtly designated to function as signs of distinction or marks of infamy, stigmata, especially the names and titles expressing class membership whose intersection defines social identity at any given time — the name of a nation, a region, an ethnic group, a family name, the name of an occupation, an educational qualification, honorific titles and so on. Those who classify themselves or others, by appropriating or classifying practices or properties that are classified and classifying, cannot be unaware that, through distinctive objects or practices in which their ‘powers’ are expressed and which, being appropriated by and appropriate to classes, classify those who appropriate them, they classify themselves in the eyes of other classifying (but also classifiable) subjects, endowed with classificatory schemes analogous to those which enable them more or less adequately to anticipate their own classification.

Social subjects comprehend the social world which comprehends them. This means that they cannot be characterized simply in terms of material properties, starting with the body, which can be counted and measured like any other object in the physical world. In fact, each of these properties, be it the height or volume of the body or the extent of landed property, when perceived and appreciated in relation to other properties of the same class by agents equipped with socially constituted schemes of perception and appreciation, functions as a symbolic property. It is therefore necessary to move beyond the opposition between a ‘social physics’ — which uses statistics in objectivist fashion to establish distributions (in both the statistical and economic senses), quantified expressions of the differential appropriation of a finite quantity of social energy by a large number of competing individuals, identified through ‘objective indicators’ — and a ‘social semiology’ which seeks to decipher meanings and bring to light the cognitive operations whereby agents produce and decipher them. We have to refuse the dichotomy between, on the one hand, the aim of arriving at an objective ‘reality’, ‘independent of individual consciousnesses and wills’, by breaking with common representations of the social world (Durkheim’s ‘pre-notions’), and of uncovering ‘laws’ — that is, significant (in the sense of non-random) relationships between distributions — and, on the other hand, the aim of grasping, not ‘reality’, but agents’ representations of it, which are the whole ‘reality’ of a social world conceived ‘as will and representation’.

In short, social science does not have to choose between that form of social physics, represented by Durkheim — who agrees with social semiology in acknowledging that one can only know ‘reality’ by applying logical instruments of classification — and the idealist semiology which, undertaking to construct ‘an account of accounts’, as Harold Garfinkel puts it, can do no more than record the recordings of a social world which is ultimately no more than the product of mental, i.e., linguistic, structures. What we have to do is to bring into the science of scarcity, and of competition for scarce goods, the practical knowledge which the agents obtain for themselves by producing — on the basis of their experience of the distributions, itself dependent on their position in the distributions — divisions and classifications which are no less objective than those of the balance-sheets of social physics. In other words, we have to move beyond the opposition between objectivist theories which identify the social classes (but also the sex or age classes) with discrete groups, simple countable populations separated by boundaries objectively drawn in reality, and subjectivist (or marginalist) theories which reduce the ‘social order’ to a sort of collective classification obtained by aggregating the individual classifications or, more precisely, the individual strategies, classified and classifying, through which agents class themselves and others.

One only has to bear in mind that goods are converted into distinctive signs, which may be signs of distinction but also of vulgarity, as soon as they are perceived relationally, to see that the representation which individuals and groups inevitably project through their practices and properties is an integral part of social reality. A class is defined as much by its being-perceived as by its being, by its consumption — which need not be conspicuous in order to be symbolic — as much as by its position in the relations of production (even if it is true that the latter governs the former). The Berkeleian — i.e., petit-bourgeois — vision which reduces social being to perceived being, to seeming, and which, forgetting that there is no need to give theatrical performances (representations) in order to be the object of mental representations, reduces the social world to the sum of the (mental) representations which the various groups have of the theatrical performances put on by the other groups, has the virtue of insisting on the relative autonomy of the logic of symbolic representations with respect to the material determinants of socio-economic condition. The individual or collective classification struggles aimed at transforming the categories of perception and appreciation of the social world and, through this, the social world itself, are indeed a forgotten dimension of the class struggle. But one only has to realize that the classificatory schemes which underlie agents’ practical relationship to their condition and the representation they have of it are themselves the product of that condition, in order to see the limits of this autonomy. Position in the classification struggle depends on position in the class structure; and social subjects — including intellectuals, who are not those best placed to grasp that which defines the limits of their thought of the social world , that is, the illusion of the absence of limits — are perhaps never less likely to transcend ‘the limits of their minds’ than in the representation they have and give of their position, which defines those limits.

THE SECRET LIFE OF CHAOS - PROFFESOR JIM AL-KHALILI - BBC4

How did we get here?

The compunds from which humans are made are embarrasingly common. 99% of the body is a mixture of air water coal and chalk.
The elements which make a human cost at most a few pounds.
Atoms organise themsleves into thinking breathing beings. How is the most intriging question to ask.
Science has pushed past religion and philosophy to answer this.
There is a strange and unexpected relationship between order and chaos.

Natrual world = buzzing confusion
mess of querky patterns, never seems to repeat itself exactly.,

All this mahem is unpinned by mathmatical formula.
Alan Turring. - great mathmatician - thoguht of the concept of the computer. saw patterns that we cannot. natural world was where he reaslied these patterns. possibility that Simple mathmatical equations could be used to begin to predict things in the biological world. no one had thought of that before.
Mathmatical equations could be used to understand human behaviour. thought
what happens to the mind....what is it? came from grief of boyfriends death.
inteliigence in mathmatical equation.
morphogenisis - chemical reaction with a cell - to think of a formula for this cell.
how do cell which start the same know how to change into an eye or skin?
morphogeneis = self organisation. no one had a clue how it worked before him.
1952 - paper with first mathematical explanation for cells. usually used in astromony or physics euqtion used to describe biological processes.
their equations described something familiay but never thought of in biology.
wind in sand....grains ripple into waves and dunes. this happens even thought the grains are identitcal and have no knowledge of the shapes they become part of.
very similar way chemicals in embryos could cause cells to organise into different organs.
*his drawings of how it might work*
mathematics for biology.
suddenly the door was opened.
he killed himself after being wrongly accused
borris bolusov - he found a chemical reaction which went from yellow and white then back again. osalated
he wrote his paper, got rejected, he gave up science. he never saw turins work.
B-Z reaction. very bland solution, suddenly becomes patterned. co ordinated waves, same as our heart cells when we beat.
scientists didnt believe it - why?? - just didnt like.
end of the 19th century scientist thoguht the world could be sussed out and it would eventually be predicted. clock work universe. followed the rules, complicated machine, once u set it going it would only do one thing. the one thing run by mathematical rules must be fairly easy. once we had a euqtion we could work what things would do. predict tommorow.

WE USED TO THINK THAT IF U HAD WEIRD BEHAVIOUR IN SOMETHING YOUR WORKING ON THIS MUST THE RESULT OF SOME RANDOM OUTSIDE INFLUENCES. IT COULDNT BE INTERNALLY GENERATED. IT WASNT AN INTRINSIC PART OF THE PROBLEM. IT WAS SOME OTHER THING IMPACTING ON IT.

orgainsation seemed obsurd. the thought of complexity inside was rbbish thought. the utonian view would have to collapse. but the utonian scientists found an unexpected discovery and realised something was worng. shatter the utonian drema and plunged us into chaos.

Discovery of CHAOS.

A system which is completely desrdibed by mathemcial equation is more than capable of being completely unpredictable without any help from the outside.
Chaos very very simple rule, we know everything about it, nothing random about it can have out comes that are entirely unpredictable.

edward lornez - tired to make equation for prediction of weather he was wrong.

it was like the smallest breathe of wind a month ago could make the difference between a snow storm or a beautiful summers day.

the tinest difference in starting positions too small to mesaure can get bigger and bigger, each step in process the system then moves further and further awat from where u thoguht it was going. DOES THE FLAP OF A BUTTERFLIES WING IN BRAZIL SET OFF A TORNADO IN TEXAS.

THE BUTTERFLY EFFECT.


People tried to calculate the things and it wasnt working so the idea that there could be a mathmatical eqution was shattered. the end of the utonian dream.
logical certainty was just an act of faith.

IF YOU HAVE AN EQUATION WHERE THE OUTPUT IS CHAOTIC THEN YOU CAN NEVER WORK OUT WHERE THE STARTING POINT BEGAN.

chaos is everything,.

unpredicatblity was wried into every aspect of the world we live in. climate, stock market could crash, wiped off the planet, nothing we could do about it.

to be scared of chaos. basic laws of physcis. fact of life.

CHAOS POSSIBILITIES ARE BROADER AND MORE GENERAL.

scientsit went back to look at turin and everyone else and realised theyd all discovered lots of different parts from the same really big idea. the natural world could be deeply profoundly unpredicitbale. but this can still be ordered.
more depply linked than we could imagine,
how possible?

what do these patterns all have in coomon? o=

the are all complciated but based on same simple rules.

these rules have a unique property - coupling or FEEDBACK!!!!

show order and chaos from a simple system feedback.
BEING FILMED IN FRONT OF A CAMERA PROJECTED HIMSELF BEHIND. IN A LOOP THIS IS A FEEDBACK LOOP. PCITURE IN A PCITURE IN A PCTURE. SEEMED PREDICATBLE,. WHEN U ZOOM IN WEIRD THINGS HAPPEN. THE OBJECT STOPPED RESEMBLING WHATS ON THE SCREEN SMALL CHANGES ARE AMPLAFIED. BACK TO SCREEN AND BACK AGAIN. U CAN DESRICBE THE PROCESS MATHMATICALLY BUT U CANT PREDCIT HOW THE FINAL AESTHTIC WILL LOOK. THE BUTTERFLY EFFECT IN ACTION
THIS SIMPLE SYSTEM PRODUCES CHAOS AND ORDER.

THE SAME EQUATION IS PRODUCING PATTERNED BEHAVIOUS AND CHAOTIC BEHAVIOUR.
THAT THERE ARE REGULARITIES AND NATURE AND TOTALLY SPEREATE THERE COULD IRREUGLALIRTIES. THESE ARE TWO ENDS OF SPECTRUM, TOGETHER.

PATTERN IS EVERYWHERE ITS JUST WAITING TO HAPPEN.

BENOIR MANDELBROT - SKIPPED SCHOOL - JEW = SELF TAUGHT OR TUTORED. NEVER LEANRED THE ALPHABET OR MULITPLICAITON. A GIFT FOR SEEING PATTERNS, RULES WHERE OTHER PPL COULDNT. SE FORM AND STURCTURE WHERE OTHERS SEE SHAPELESS MESS. HE SAW THIS MATHETIC WHICH COULD PULL THESE TOGETHER.
WORKED FOR IBM. WORKING ON PROBLEMS IN NATURE, ECONOMY AND IT DAWNED ON HIM THAT EVERYTHING HE WAS DOING WAS PART OF THE SAME BIG PICTURE. WANTED TO CHASE THIS BIGGER PICTURE.
HE WAS FASCINATED THAT WE HAD STRAIGHT LINES AND PERFECT CIRCLES BUT THIS DIDNT MIRROR THE REAL NATURAL WORLD

from a distance rocks look like semi cirlces etc but up close, it isnt. SO WHAT SHAPE IS IT?

MANDLEBROT something universal. the patterns in clouds

the patterns in nature

SELF SIMILARITY EUQATION

THIS DESCRIBES ANYTHING IN WHICH THE SAME SHAPE...IS REPEATED..OVER AND OVER AGAIN AT SMALLER AND SMALLER SCALES.

branches of trees. they fork and fork again repeating the same process smae in the structure of our lungs and bloody vessels in our bodies, how rivers splint into streams.
romanesco brocolli.

this was the basis of an enitrely new geometery. FRACTAL.

could u represent its essence in a picutre taken from an equation. could u make a picture which didnt look man made? he used a super computer to draw this shape;.

THUMBPRINT OF GOD. MATHMATICAL IMAGES.
THE MANBROTS SET.


AMNMMMAING IMAGE

Z >< Z2 + C
FEEDS BACK ON ITSELF....EACH OTUPUT BECOEMS THE INPUT FOR THE NEST GO. THIS FEEDBACK MEANS A SIMPLE EQUATION CAN PROCESS AN OUTPUT OF INFINATE COMPLEXITY.

WHEN WE LOOK AT complexitieS IN NATURE WE THINK WHERE DID THAT COME FROM? THERE IS SOMETHING IS OUT HEADS WHICH TELLS US THAT COMPLXITY DOE SNOT ERISE FROM SIMPLICTY IT MUST COME FROM SOMETHING COIMPLCATED WE CONVERSE COMPLEXITY BUT MATHEMATICS TELLS US VERY SIMPE RULES NATRUALLY GIVE RISE TO VERY COMPLEX OBECJTS. SO ONE THING CAN BE VERY SIMPLE AND COMPLEX FROM TWO POINTS OF VIEW. THAT MEANS WE HAVE TO RETHINK COMPLETELY THE RELATIONSHIP BETWEEN SIMPLCITY AND COMPLEXITY.


COMPLEX SYSTEMS CAN BE BASED ON SIMNPLE RULES.,


APPLIES ALLLLL OVER OUR WORLD.


THIS IS IN MY WORK!!]

A FLOCK OF BIRDS. LOOKS SIMPLICIST BUT VERY COMPLACITED THINGS ARE GOING ON. IM POSSIBLE TO PREDICT WHAT TI DOES., NEVER REPEATS ITSELF EVER. LIKE THE BELUSOX REACTTON. VIDEO LOOPS AND SAND DUNES. U KNOW THEYLL MAKE A CERTIAN PATTERN BUT CANT PREDICT THE OUTCOMES.

CAN IT EXPLAIN WHY LIFE EXISTS? HOW DUST TURNS INTO HUMAN BEINGS. HOW MATTER CAN MAKE INTELLIGENCE?

U MIGHT THINK ITS BEYOND SCIENCE.

should we give yup if we cant predict it.

EVOLUTION HAS BUILT OF THESE PATTERNS.
Its taken all the systems and built on the ones that work. completely unconcoious but thats whats happening,
natures self organising
evolution enriches complex systems.

a device can mimic this fast process. the computer. can churn millions of calculations per second. simluate evolution.

aadpative and complex systems.

Saturday, 16 January 2010

THE QUEMISTS - STOMPBOX (SPOR REMIX)

WHEN THE BEAT DROPS THAT IS THE NOISE IN MY HEAD WHEN IT ALL KICKS OFF.

THIS IS WHAT THE ALARM CLOCKS WERE SUPPOSED TO BE LIKE. LIKE CHEWING ON POLYSTRYENE

HEIST - SLEEP IN YOUR EYES 22/01/2010

THE STREETS - LETS PUSH THINGS FORWARD

This ain't the down it's the upbeat
Make it complete
So what's the story?
Guaranteed accuracy enhanced CD
Latest technology, Darts at Treble 20
Huge non-recuparable advance
Majors be vigilent
I excel in both content and deliverance
So let's put on our classics
And we'll ave a little dance, shall we?
No sales pitch, no media hype
No hydro, it's nice and ripe
I speak in communication in bold type
This AIN'T yer archetypal street sound
Scan for ultrasound North, South, East, West
And all round and then to the underground
You say that every thing sounds the same
Then you go buy them! There's no excuses my friend
Let's push things forward
As we progress to the checkpoint
I wholeheartedly agree with yer viewpoint
But this ain't your typical Garage joint
I make points which hold significance
That ain't a bag it's shipment
This ain't a track it's a movement
I got the settlement
My frequencies are transient
And resonate your eardrums
I make bangers not anthems
Leave that to the Artful Dodger
The broad shouldered 51% shareholder
You won't find us on Alta Vista
Cult classic, not bestseller
Your gonna need more power,
Plug in the freephase and the generator
Crank it up to the gigawatts
Critics ready with the potshots, the plot thickens
Put on yer mittens for these sub-zero conditions
But remember I'm just spittin',
Remember I'm just spittin'
Once bitten, forever smitten
You say that everything sounds the same
Then you go buy them! There's no excuses my friend
Let's Push Things Forward
Spilt jewels like Eastern Riches
Junkie Fixes
Around 'ere we say Birds, not bitches
As London Bridge burns down, Brixton's burning up
Turns out your in luck
Cos I know this dodgy fuck in The Duck
So it's just another showflick from your
Local City Poet
Case you geezers don't know it
Lets Push Things Forward
It's a tall order, but were taller
Calling all mawlers, backstreet brawlers
Cornershop crawlers, victories flawless
Love us or hate us, but don't slate us
Don't conform to formulas
Pop genres and such Sharp darts, double Dutch
Parked cars, troubles a much with more Bud
Let's Push Things Forward
You say that everything sounds the same
Then you go buy them! There's no excuses my friend
Let's Push Things Forward.

Mike skinner made a comment about autonomy and I remeber him saying something about doing what you want to do and not copying everyone else somehow produces things which stay around for longer. Its stuck with me. Im also interested in the class description within his work.

THE IRONY OF IT ALL - THE STREETS

Hello, Hello. My names Terry and I'm a law abider
There's nothing I like more than getting fired up on beer
And when the weekends here I to exercise my right to get paralytic and fight
Good bloke fairly
But I get well leery when geezers look at me funny
Bounce 'em round like bunnies
I'm likely to cause mischief
Good clean grief you must believe and I ain't no thief.
Law abiding and all, all legal.
And who cares about my liver when it feels good
Wwhat you need is some real manhood.
Rasher Rasher Barney and Kasha putting peoples backs up.
Public disorder, I'll give you public disorder.
I down eight pints and run all over the place
Spit in the face of an officer
See if that bothers you cause I never broke a law in my life
Someday I'm gonna settle down with a wife
Come on lads lets have another fight

Eh hello. My names Tim and I'm a criminal,
In the eyes of society I need to be in jail
For the choice of herbs I inhale.
This ain't no wholesale operation
Just a few eighths and some Playstations my's vocation
I pose a threat to the nation
And down the station the police hold no patience
Let's talk space and time
I like to get deep sometimes and think about Einstein
And Carl Jung And old Kung Fu movies I like to see
Pass the hydrator please
Yeah I'm floating on thin air.
Going to Amsterdam in the New Year - top gear there
Cause I taker pride in my hobby
Home made bongs using my engineering degree
Dear Leaders, please legalise weed for these reasons.

Like I was saying to him.
I told him: "Top with me and you won't leave."
So I smacked him in the head and downed another Carling
Bada Bada Bing for the lad's night.
Mad fight, his face's a sad sight.
Vodka and Snake Bite.
Going on like a right geez, he's a twat,
Shouldn't have looked at me like that.
Anyway I'm an upstanding citizen
If a war came along I'd be on the front line with em.
Can't stand crime either them hooligans on heroin.
Drugs and criminals those thugs on the penny coloured will be the downfall of society
I've got all the anger pent up inside of me.

You know I don't see why I should be the criminal
How can something with no recorded fatalities be illegal
And how many deaths are there per year from alcohol
I just completed Gran Tourismo on the hardest setting
We pose no threat on my settee
Ooh the pizza's here will someone let him in please
"We didn't order chicken, Not a problem we'll pick it out
I doubt they meant to mess us about
After all we're all adults not louts."
As I was saying, we're friendly peaceful people
We're not the ones out there causing trouble.
We just sit in this hazy bubble with our quarters
Discussing how beautiful Gail Porter is.
MTV, BBC 2, Channel 4 is on until six in the morning.
Then at six in the morning the sun dawns and it's my bedtime.

Causing trouble, your stinking rabble
Boys saying I'm the lad who's spoiling it
You're on drugs it really bugs me when people try and tell me I'm a thug
Just for getting drunk
I like getting drunk
Cause I'm an upstanding citizen
If a war came along I'd be on the front line with em.

Now Terry you're repeating yourself
But that's okay drunk people can't help that.
A chemical reaction inside your brain causes you to forget what you're saying.

What. I know exactly what I'm saying
I'm perfectly sane
You stinking student lameo
Go get a job and stop robbing us of our taxes.

Err, well actually according to research
Government funding for further education pales in insignificance
When compared to how much they spend on repairing
Leery drunk people at the weekend
In casualty wards all over the land.

Why you cheeky little swine come here
I'm gonna batter you. Come here.

Friday, 8 January 2010

FRUIT BOWL PIECES FOR MY PIECE

JAN VAN HUYSUM




GIOVANNI BATTISTA RUOPPOLO






FRIDA KAHLO






BALTHASAR VAN DER AST











PABLO PICASSO










JUAN GRIS












DALI


































MATISSE

















CEZANNE












VINCENT VAN GOGH
































Wednesday, 6 January 2010

++*+*+*+**JeFf kOoNs+*+*+*+*+*



















































































































































































































stainless steel




















oil inks on canvas





















oil inks on canvas






















bronze

























bronze























bronze


























bronze
























bronze