so a guy wants to cross a distance. lets call that distance X.
But before he can cross that, he has to cross half of that. makes sense, right? but extrapolate that. before he crosses that half, he has to cross half of that half. and prior to that, half of that half of that half. half of half of half of half of half. before crossing each half he has to cross the half of that half. it goes on toward infinity. forget your preconceptions and think of it purely within this theoretical boundary. by this logic, it is impossible for him to cross the length of X because before that he has to cross an infinity of halfs which he is unable to do because he is unable to cross the half before that half he has to cross. (its called -somethings- paradox. what -something- is, i forget.)
it makes sense on paper but in real life we know he just has to take a first step. but i think this introduces the concept of the infinity. maybe it is also a metaphor about how absolute conception of the inifinite within our finite perception is absolutely paralysing.
can we wrap our heads around infinity? i dare not. but in thinking about it, i wonder- is infinity linear or is it a loop? taking it in the context of time, if it were an infinite loop, i think it has two depressing conclusions we can draw from our limited understanding of it.
1) we are doomed (or blessed) to repeat ourselves. you will read this again.
2) if we are doomed to repeat ourselves, it means what will happen has happened. and i have serious personal grievances with the notion that we have no control over our future.
if it were linear. well. that be easier to accept but harder to understand.
i don't know. i don't even know why im writing this, but i feel compelled. its been on the back of my mind for the past few days and i've been chasing my own tail.
what do you think?
2006-09-18
2006-09-08
the object of memory/the memory of objects
concept_
Objects come loaded with a personal and shared history. Upon these peels of memories we spin further layers, mixing them into a chauldron of nightmare dreams and pony fantasies.
Many of these memories are buried in our subconscious, ferreted there through the proxy of our 5 senses. The limited scope of our sensory capabilities means that overlaps can and do occur. When this happens, like click of little red shoes, one is transported to within the labyrinth of our mind- a kansas tinted deja vu. The object is thus, as the agent of remembering, layered upon the memory of that memory, while at the same time weaving a unique memory of its own.
An object without a memory has not been experienced and thus does not exist.
concept in 3D_
A paper frieze built upon the image of steel trusses- when unfolded, it snakes around, forming a tangible "memory labyrinth", where the participant must physically peruse through the different panels, slowly revealing the peels of memory imprinted upon that structure. LIke the nature of memory, there is no coherent system of arrangement within the whole, though there are parts that relate. Through my execution I arrived at the conclusion of 3 distinct layers of memory - the memory of the past (memory of memory), the memory of the immediate (memory of experience), and the memory of the process (memory of action/reaction).
When done, the labyrinth folds back into itself. The memories scurry to hide behind the image of the steel truss.
After all, memory is a shy creature - "There is a secret bond between slowness and memory... the degree of slowness is directly proportional to the intensity of memory." (Milan Kundera. Thank you Colin/Mr. Seah for that lecture.)
The use of the frieze also ties in with the notion that the structure studied is a product of mass production. It is supported at regular intervals by these steel trusses, so imagine- it is infinitely expandable. It streches for as long as the supports allow. (how many do you want to cut out? its easy, really.)
snippets from the Memory Labyrinth_
_on the memory of experience
"Smell is the mute sense, the one without words. Lacking a vocabulary, we are left tongue-tied, groping for words i na sea of inarticulate pleasure and exaltation." - The History of the Senses.
Smell is the rawest of our senses, one I can never remember, only recognize.
_on the memory of action/reaction
Sitting atop Mount Emily, the structure has the quality of being within but not part of the city. One experiences a transition from the white noise chaos of the city to one of peace and the serene nature of nature, like the ripples when a pebble ploumps into water.
_on the memory of memory
The memory of a memory is mostly one of sepia-tinted childhood which ripens like wine. Sweet nostalgia given to the forgetful blur of time, letting us build a proverbial house of memories with the white porch, low picket fence and a dog in the yard.
concept_
Objects come loaded with a personal and shared history. Upon these peels of memories we spin further layers, mixing them into a chauldron of nightmare dreams and pony fantasies.
Many of these memories are buried in our subconscious, ferreted there through the proxy of our 5 senses. The limited scope of our sensory capabilities means that overlaps can and do occur. When this happens, like click of little red shoes, one is transported to within the labyrinth of our mind- a kansas tinted deja vu. The object is thus, as the agent of remembering, layered upon the memory of that memory, while at the same time weaving a unique memory of its own.
An object without a memory has not been experienced and thus does not exist.
concept in 3D_
A paper frieze built upon the image of steel trusses- when unfolded, it snakes around, forming a tangible "memory labyrinth", where the participant must physically peruse through the different panels, slowly revealing the peels of memory imprinted upon that structure. LIke the nature of memory, there is no coherent system of arrangement within the whole, though there are parts that relate. Through my execution I arrived at the conclusion of 3 distinct layers of memory - the memory of the past (memory of memory), the memory of the immediate (memory of experience), and the memory of the process (memory of action/reaction).
When done, the labyrinth folds back into itself. The memories scurry to hide behind the image of the steel truss.
After all, memory is a shy creature - "There is a secret bond between slowness and memory... the degree of slowness is directly proportional to the intensity of memory." (Milan Kundera. Thank you Colin/Mr. Seah for that lecture.)
The use of the frieze also ties in with the notion that the structure studied is a product of mass production. It is supported at regular intervals by these steel trusses, so imagine- it is infinitely expandable. It streches for as long as the supports allow. (how many do you want to cut out? its easy, really.)
snippets from the Memory Labyrinth_
_on the memory of experience
"Smell is the mute sense, the one without words. Lacking a vocabulary, we are left tongue-tied, groping for words i na sea of inarticulate pleasure and exaltation." - The History of the Senses.
Smell is the rawest of our senses, one I can never remember, only recognize.
_on the memory of action/reaction
Sitting atop Mount Emily, the structure has the quality of being within but not part of the city. One experiences a transition from the white noise chaos of the city to one of peace and the serene nature of nature, like the ripples when a pebble ploumps into water.
_on the memory of memory
The memory of a memory is mostly one of sepia-tinted childhood which ripens like wine. Sweet nostalgia given to the forgetful blur of time, letting us build a proverbial house of memories with the white porch, low picket fence and a dog in the yard.
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