The space-time of electracy may not be figured with the basic shapes of geometry.  This mapping shape comes rather from the arts, for which Cezanne’s realisation may serve as a place-holder.  Cezanne’s invention is an interface between geometry (sphere, cone, and cube) and the formal designs of style.

Measure

The figural (Lyotard’s sublime hypotyposis), is based on  pictorial innovations such as “realisation.”  Cezanne is Lyotard’s point of departure.   “His work had at stake to inscribe on the supporting canvas only those ‘coloristic sensations,’ those ‘little sensations’ that of themselves, according to Cezanne’s hypothesis, constitute the entire pictorial existence of objects, fruit, mountain, face, flower, without consideration of either history or ‘subject,’ or line, or space, or even light.  These elementary sensations are hidden in ordinary perception which remains under the hegemony of habitual or classical ways of looking.  They are only accessible to the painter, and can therefore only be re-established by him” (Lyotard, 1991: 102).

This isolating of “sensation” and the discovery of how to compose a new space entirely by its means is a grounding principle upon which an image category must be constructed, since it makes explicit the (moral and political) value that this judgment brings to public policy formation.
“On the occasion of a form, which itself is only an occasion for feeling, the soul is seized by a small happiness, unlooked for, unprepared, slightly dynamizing.  It is an animation of an anima there on the spot, which is not moving towards anything. It’s as if the mind were discovering that it can do something other than will and understand.  Be happy without ever having asked for it or conceived it. An instant which will seem very long, measured by the clock of intrigue, but which is not in the purlieus of its timekeeping; a flash made of delaying (you tarry near beauty), a form, a little synthesis of matters in space-time, sensus.  A sense that has to be thought of as absolutely singular.  The occasion is the case.  And it would be this absolutely singular sensus, which would be communis” (Lyotard, 1992).

a work by Congo, the Cezanne of the apes.

(More about Cezanne of the apes).

My iconic landscape expresses my state of mind as a dynamical system. a purpose of the experiment (with my capacity to be affected) is to notice and enhance, bring into awareness, my experience of orientation, directedness, the intentionality, of the pull or flow of experience within which I exist: my situation.

Seduction

J. Richard Eiser, Attitudes, Chaos, and the Connectionist Mind.

“If we produce a phase-space map [of energy] we have a contoured landscape in which unequal conditional probabilities are represented by wells or valleys in different regions, with differences in potential energy being shown as valleys and ridges of different depth and height. The phase space will include multiple attractors.” (Fractal Landscape Generator).

Many paths into the Sinkhole

“What kinds of maps best describe human thought? When represented as an energy landscape in phase space, the dimensionality of thought is fractal. Thought is not a point on a straight-line continuum , on a flat surface, or within a cube or even a multidimensional hypercube. It falls within a space in which we can discover infinite complexity if we make finer and finer distinctions. To use the analogy of [a sinkhole pond], it is as though the [surface lacked all bouyancy, with no possibility of remaining afloat]. If we want to draw a landscape which allows people, albeit with effort, [to swim, or even to exit the pond] — that is, remove themselves from an attractor –we need something more.”

Here is a further meaning of “well-being”: the wells or basins of attraction producing the currents and vortices of my world.

Cabot-Koppers Superfund site is an allegory of Expression. By analogy with the invention of literate metaphysics I read any movement in the scene as an intimation of Being. Motion showed Aristotle where to look: movement in space (kinesis) or in time (entelechy). Different modes of change (of location or of state). My passage goes by way of contamination (as in a dream, the whole scene renders the feeling).

Contamination

The trial/experience of being affected includes the construction of an emblem, to cover or head the attractor at work in this felt. An abstracting from the documents of a design or pattern, that in the first instance intensifies the encounter as a measure of recognition. Making as auto-affection (as experience). My fold unfolding is in the manner of pollution: domains, semantic fields merged reluctantly, as a taint or stain, contracting ruination, wasting, spoilage. Nonetheless, it is the manner, the style of motion that shows the way. Then there is the conductive payoff, the proof of the epreuve: Percolation.

Network Flow

“Percolation is a physical process that describes for a system, a transition from one state to another. In most cases, percolation is assimilated with the apparition of an infinite size cluster, corresponding to significant changes in the physical properties of the system. In physics, chemistry and materials science, percolation concerns also the movement and filtering of fluids through porous materials.”

What does the scene say? It is one example of a kind of motion: Percolation theory is the study of the connectivity of networks. What is the manner of Internet e-motion? Percolation.

The dictionary of concepts compiled throughout the history of literacy becomes an acquifer for electracy. Conductive inference works across the categorial boundaries of essences, in the manner of dreamwork (condensation and displacement), following the track of encryption and its decipherment documented in the case of the Wolf Man’s magic word, and Derrida’s secret. The manner of inference undertaken spontaneously by neurotics (?) provides an outline for an imaging rhetoric.

Gorgonzola, without the Zola

For example, why “Gorgonzola” for the picture in the emblem created for the Superfund model? The choice was generated using the anasemic escape from a crypt.

1. Name the value structuring the narrative version of the disaster (A Civil Action, starring John Travolta).— Perseverance (the lawyer sticks wth the case against the corporation).

2. Use a dictionary to inventory other terms in the neighborhood of “perseverance”.—A number of promising displacement lines offered themselves: persian carpet; Perseus as constellation, the Perseid (a shower of meteors appearing in August radiating from a point in the constellation Perseus); perse, a very deep shade of blue. Pick one: Perseus, slayer of Medusa. Medusa is one of the Gorgon sisters.

3. Use one of the defining properties of the neighbor word as the jump word, to leap to a different syllable system. Gorgon.

4. Select the emblem sign from a neighbor of the jump word. Gorgonzola.

5. Proof effect? (bonus). The materiality of Gorgonzola cheese not only manifested the structure of the “fold” as theorized by Gilles Deleuze, but also is within the image family of poros structures with karst limestone. There is an explicit resemblance between the acquifer material of the Superfund site and the cheese. The cheese may be used to allude, enigmatically, to the disaster.

The implication is that the secret may be used also from the image side, to jump to anasemically related semantic domains. Image/text passages may be created either by using the dictionary jump (to find images) or image search to find concepts.

Mapping Capacities

Conatus

“But still the theater of matter, to the extent a material can be grasped, hardened in its distortion or its hysteresis, is apt to express within itself the folds of another material, as in Renonciat’s wooden sculpture, where Lebanese cedar turns into a plastic dropcloth, or the Parana pine becomes ‘cotton and feathers.’ Finally, the way that all these textures of matter tend toward a higher point, a spiritual point that envelops form, that holds it enveloped, and that contains alone the secret of material folds below. Where would these come from? They are not explained by composite parts, since the ’swarming,’ the perpetual displacement of contour, originates in the projection of something spiritual into matter” (Gilles Deleuze, The Fold ).

Passages

The disaster-in-me shows me my existential project, but circumspectly, in the style of an oracle. This experiment to discover my capacity to be affected is composed in the middle voice: the test happens in practice (not in principle or “conceptually”). Writing with AS, not IS, in the first person. G.L.U.(e) as acquifer. We are making (a) felt, not a text.

Existential Project

This probe tests the materiality of the figure: karst topography. What is its character? “How groundwater moves throughout the bedrock depends on the porosity and permeability of the limestone. Limestone contains voids, or pores, and the volume of the pores is referred to as porosity. Porosity can be categorized as intergranular, between rock grains, or macrogranular, cavities and cracks that result from erosion. The ease with which water moves through the limestone is called “permeability”. For a rock to be permeable, its pores must be interconnected. Larger pores result in easier flow, or greater permeability.”

The Way

Here is a figure of movement, intimating a path in time, if it does (for me). Do I recognize it as a corelative of my plan (to overcome the aporia, the impasse).?