Thursday, 31 July 2014

Summa Theologiae,%20CONFRONTING%20IMAGES.pdf

There is, however, an alternative to this incomplete semiology. It is based on the general hypothesis that the efficacy of these images is not due solely to the transmission of knowledge—visible, legible, or invisible—but that, on the contrary, their efficacy operates constantly in the intertwinings, even the imbroglio, of transmitted and dismantled knowledges, of produced and transformed not-knowledges. Something like a suspended attention, a prolonged suspension of the moment of reaching conclusions, where interpretation would have time to deploy itself in several dimensions, between the grasped visible and the lived ordeal of a relinquishment. There would also be, in this alternative, a dialectical moment—surely unthinkable in positivist terms—consisting of not-grasping the image, of letting oneself be
grasped by it instead: thus of...

Monday, 21 July 2014

quirinus of neuss

During the siege of the city of Neuss by Burgundian troops in 1474, the citizens had worn a metal emblem of their patron saint, Quirin, on their clothing. Under the saint's protection, they all had remained uninjured, and if one of them was hit by an enemy missile, it quite simply bounced off the emblem, which quite literally shielded them from harm.

Defaced / Groebner/ 54

Thursday, 17 July 2014

melencolia's block

fouquet's rock

Thus it must be stated that a body has a degree of hardness as well as a degree of fluidity, or that it is essentially elastic, the elastic force of bodies being the expression of the active compressive force exerted on matter. When a boat reaches a certain speed a wave becomes as hard as a wall of marble.


Saturday, 12 July 2014

ANDERSON, Benedict 1991: Imagined Communities: Reflections on the Origin and Spread of Nationalism

Revised Edition. London and New York: Verso
In an anthropological spirit, then, I propose the following definition of the 
nation: it is an imagined community – and imagined as both inherently 
limited and sovereign. It is imagined because the members of even the 
smallest nation will never know most of their fellow-members, meet them, 
or even hear of them, yet in the minds of each lives the image of their 
communion. (...) The nation is imagined as limited because even the 
largest of them, encompassing perhaps a billion living human beings, has 
finite, if elastic, boundaries, beyond which lie other nations. No nation 
imagines itself coterminous with mankind. (...) It is imagined as sovereign 
because the concept was born in an age in which Enlightenment and 
Revolution were destroying the legitimacy of the divinely-ordained, 
hierarchical dynastic realm. Coming to maturity at a stage of human history 
when even the most devout adherents of any universal religion were 
inescapably confronted with the living pluralism of such religions, (...) 
nations dream of being free, and, if under God, directly so. The gage and 
emblem of this freedom is the sovereign state. /
Finally, it is imagined as a community, because, regardless of the actual inequality and 
exploitation that may prevail in each, the nation is always conceived as a deep, horizontal 
comradeship. (p. 5-7


Metalepsis (from Greek μετάληψις) is a figure of speech in which a word or a phrase from figurative speech is used in a new context.

In narratology (and specifically in the theories of Gerard Genette), a paradoxical transgression of the boundaries between narrative levels or logically distinct worlds is also called metalepsis.

“deliberate transgression of the threshold of embedding”  resulting in “intrusions [that] disturb, to say the least, the distinction between levels.” It produces an effect of “humor” or of “the fantastic” or “some mixture of the two […], unless it functions as a figure of the creative imagination […]” (Genette [1983] 1988: 88). Genette (2004) also argues that not only is metalepsis a violation of the separation between syntactically defined levels, but also a deviant referential operation, a violation of semantic thresholds of representation that involves the beholder in an ontological transgression of universes and points toward a theory of fiction

Friday, 4 July 2014

whitstable biennale


Jury, atelier gravure, La Cambre,
Ecole Nationale Supérieure des Arts Visuels, Bruxelles

photos Jean Pierre Muller

Thursday, 3 July 2014



In the thermal inkjet process, the print cartridges contain a series of tiny chambers, each containing a heater, all of which are constructed by photolithography. To eject a droplet from each chamber, a pulse of current is passed through the heating element causing a rapid vaporization of the ink in the chamber to form a bubble, which causes a large pressure increase, propelling a droplet of ink onto the paper (hence Canon's trade name of Bubble Jet). The ink's surface tension, as well as the condensation and thus contraction of the vapor bubble, pulls a further charge of ink into the chamber through a narrow channel attached to an ink reservoir. The inks used are usually water-based and use either pigments or dyes as the colorant. The inks used must have a volatile component to form the vapor bubble, otherwise droplet ejection cannot occur. As no special materials are required, the print head is generally cheaper to produce than in other inkjet technologies.

Most commercial and industrial inkjet printers and some consumer printers (those produced by Epson and Brother Industries) use a piezoelectric material in an ink-filled chamber behind each nozzle instead of a heating element. When a voltage is applied, the piezoelectric material changes shape, which generates a pressure pulse in the fluid forcing a droplet of ink from the nozzle. Piezoelectric (also called Piezo) inkjet allows a wider variety of inks than thermal inkjet as there is no requirement for a volatile component, and no issue with kogation (buildup of ink residue), but the print heads are more expensive to manufacture due to the use of piezoelectric material (usually PZT, lead zirconium titanate). A DOD process uses software that directs the heads to apply between zero to eight droplets of ink per dot, only where needed. Piezo inkjet technology is often used on production lines to mark products. For instance, the "use-before" date is often applied to products with this technique; in this application the head is stationary and the product moves past. Requirements of this application are high speed, a long service life, a relatively large gap between the print head and the substrate, and low operating cost.

No one writes any more …