FRE lunch meeting at the Swamp. Agenda: Barbara Jo preliminary sketch for visualizing a dialectical image. How does a milieu trigger involuntary memory (transference events)? Revelle first mapped the epiphany system coordinating her childhood region (Pleasant Lake, Lost Lodge, Skeeversville) with the Miami River zone (documented and theorized in Miami Virtue). This choral evention is updated to include the Stephen Foster neighborhood in Murphy's Well-Being.
Digital English (ENC 6428), Spring 2013: Ubiquitous Imaging (Ubimage).
Ubimage
[dropcap type="4" ]G[/dropcap]regory Ulmer was invited by Mark Goulthorpe to contribute to a transdisciplinary seminar that the latter organizes for the Architecture School at MIT. The topic this year is "Waste and Failure," prompting a few jokes about the relevance of Ulmer's work to this theme. Ulmer was preceded by sessions devoted to the choreography and performance of works by Bill Forsythe (deconstructive ballet), and on the dilemmas of nuclear energy and its waste. Guiding Ulmer's remarks was a circumspective evocation of a transformation of the cogito from literacy to electracy,
A reminder that the focus on "epiphany" as the experience supported by Appiphany, within the larger practice of konsult, is motivated by the heuretics of "avatar" explored in Avatar Emergency. Here is the promo on the Amazon page.
Andy Warhol created the emblem appropriate for celebrating the H'MMM disciplines: Humanities + Movies Music Media. Campbell's Soup's own motto could be included in the icon ("M'm! M'm! Good!"), suggesting how to enunciate the acronym ("the 'H'mmm! H'mmm! Good!' disciplines"). The "H" in "H'MMM" is distinguished, to reference the interjection "hmmm," which expresses a certain perplexity, pondering or thinking. This is thinking about what is good, The Good (a transcendental category), hence, philosophy.
To open the probe, "Kettledrummer" (1940), a late work by Paul Klee culmination of a series of "drummer" paintings. The series alludes to an image that haunted Klee at the end of his life, the scene of Mozart on his death bed, delirious, gesturing as if playing the kettledrums of his "Requiem" Mass. Merleau-Ponty, in his final project, developed his phenomenological ontology with reference especially to Klee (even more than Cezanne). Merleau-Ponty cited Klee's diaries, from a passage that is the epitaph on Klee's tomb. "I cannot be grasped in the here and now. For I live just as well w
