Allen
I love this sort of aggregated saying: You say what I said what she said what
he said, what we all always already have been saying because philosophy always
says the same. By our aggregated saying, we are the most responsive of
audiences to/with one another, while the world looks on, overhears. Who cares
that there are only 95 people occasionally listening. Sometimes I think
there's no one. Everything's much quieter that way.
lol... I'm just reading this and what I wrote and is just funny somehow. These are nice lines Allen. It sounds like you put some thought into them. I think I get them or at least there is enough irritating shadow and open threads and fringes in the written fabric to motivate further pre-positions. You know an "and..." or a "with....", and who said it first a-gain? I think that's the beginning of it all, the chaotic soup that's an entropic noise, rumbling stampeding of a horde, murmuring buzz or chiaroscuro of a talking painting, incipient birth of a complex system. I'm reading interviews that took place over a couple of years between Michel Serres and Bruno Latour. The conversations are meant as clarifications due to the reputation and difficulty of reading Serres and a problematization of what is non-fiction in books like Genese or Le Tiers-Instruit where notes and references tend to drop out and the writing more or less abandons itself to a more literary style. Latour sounds worried and point blank asks Serres, "How could you forget your collegues?". Latour also points out that it's like Serres has gone from commentary to painting. There is a transformation that even Serres is not aways conscious about and probably implies a certain forgetting or loss of consciousness, an opening of Pandora's box perhaps that releases more fiction than commentators would be comfortable with as if we are passing through into a narrative crisis, a dramatic event in some plot that requires improvisational virtuosity to resolve. You know it's the right thing to do because there is a sense of relief if I am allowed to make a reference to subjective experience. You feel like you are in a zone where everything flows smoothly with the grace of a flickering flame spilling evanescent bursts of smoke into the whole universe. Working with the betweeness of prepostions is a relation that traces the loss of stable positions and indicates the impermanance of things like the flame. Serres in describing how he writes his new books asks us to imagine just such a dancing flame that he had before his eyes. It was a "crimson fluctuating curtain extending these immense arms, disappearing, ripping itself apart, invading space in order to illuminate everything and then suddenly die in a flash in the darkness." This for him is a complex network always a bit out of balance, very supple, fiery and fluctuating quickly in time whose definition we see badly which is to say that it's borders are porous and ill defined. In order however for a communicative network to be serious and achieve maturing depth however superficial and light one has to have a way of referencing an incandescence of threads. An emergence of petals can be named. This article that is an open system of threads then is called, "Improvisational Introductions And The Shadow of Language". If improvisation is not to be chaotic then it has to operate in "key," in a mode which gives it relational meaning and constitutes a fluctuating ethos or local medium. That's the object of the constitution of a communicative network. It is keys or modes for improvisation through which harmonious relations are heard. Improvisation then works through an entropic crisis and so is a dramatic or karmic resolution in an open plot.
tympan
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