Heuretics
admin October 4th, 2009
Xii wanting to learn rather than already known
Xiii have to TRY out the theory
To invent new poetics
Producer as well as consumer of theory
3 – theory – interpretation and experiment
but what could have been developed
*4 based on a theory, how might another text be composed?
7 eureka anecdote
12 it takes theory to make theory
reading at level of particulars/not arguments!
15 any materials will produce something new
to invent an electronic academic writing – with Derrida
16 grammatology –history and theory of writing
17 electronic apparatus – matrix of technology, institutional practices, and ideological subject formation
use the method I am inventing while I invent it
19 problems of critique
20 to find an electronic theoria
21 method not Derridian – it is made from Derrida
23 will the disciplinary organization of knowing be different in electronic apparatus?
24-5 knowing as voyage
26 differend names part of what is at stake in chorography
to write the discourses of the popcycle
26-7 frontier metaphor in computing
27 hypermedia lacks a rhetoric
28 another name for rhetoric is computer interface
31 we have been interpellated by the frontier method already – so it needs to be remade into chora
32 what will research be like in an electronic apparatus
33 to replace topos with chora
34 as opposed to linearity of argument, we get associations of new media
“structure of possibilities” from Bolter (see Flusser)
36 functioning by way of pattern recognition, pattern making, pattern generation
spatiality changed
from linear indexical to network
37 questioning model of rationality – see Lyotard
reasoning w/memory rather than with logic
* basic principle – learning how to write an intuition
38 writing with paradigms not arguments
41 remake is analogous to dialogue of plato
47 how to MOVE electronically through a storehouse of information?
To test Derrida by creating his own Columbus
48 invent chorography by creating field in which insight already exists
do not choose b/w meanings of terms, compose with all
55 participating in hybrid style is to get a feel for electronic thinking
56 research by pattern, not concept
58 reasoning w/stereotypes (ideology)
59 to write w/stereotypes (note the way strip tease plays out here)
62 to bring foreign competencies onto a target area w/out claiming one has anything to do with another
63 chora as becoming
66 chora is writing w/out representation
67 chora is the order of generating, making
68 chora has to be extended by analogy (it is not a representation)
70 chora brings to place the personal
73 chora is the concern of differance
74 bringing scattered things together
76 motivates the practice of search
81 theoretical writing opens connection b/w particular and general
84 here we get the reason for Beau Geste – borrowing the 1939 gesture
88 when distinct categories are brought together, something new emerges
91 – riff example – write with patterns that function more like music than concepts
93 a new mode of reason
limits of conceptual reason when reference is the main or only goal (referring to Auschwitz still get not get at what took place)
100 inventing an impossible method
101 represent not just a place but an event (Flusser image!)
circulation of prop motivates
102 introducing empathy, projection, and identification into critical theory
106 disengaging curiosity from truth
115 table/gest overlaps
116 method acting merges personal w/subject matter (the play)
123 clichés are points of articulation
125 Lynch’s invention – pencil, Philadelphia, etc
*127 things are the places of passage linking otherwise unrelated discourses
129 for a database (Lyotard) to become a place of invention, it must be formatted by means of method
136 family discourse / affective memory
137 mix the theories (at level of words/ideas) and network for an invention
138 following the line of displacement
140 the eureka experience
the writing of an insight (intuition)
142 categories classified outside of logical properties
143 problem solving draws upon the body as well as discourse
145 mise en abyme simulates intuition
the metaphor of filmmaking replaces the book (Ted Nelson)
148 mise en abyme allows one to show what cannot be stated directly in propositions
*149 b/c chora cannot be directly represented, it is put into a story (importance of allegory – to explain what a representation cannot do directly)
155 school discourse
163 reviewing the metaphor: learning is a metaphor
169 bringing in a certain feeling or thought into research
172 mood or feeling – does it name research?
173 rock and sand pattern returns
174 in electronic rhetoric, invention is impossible w/out this stupidity
175 Kristeva on chora
176 undermining mimesis, argument, realism
177 music or architecture as place to write (a folie)
178 importance of number 4
180 a person’s situation is a a syntax of possibilities
* much of one’s thinking takes place outside of one’s self in the symbolic order
181 for him, the square is a pattern – a message of invention
183 learning from Derrida to move away form grand narratives, sameness, in favor of difference
184 in hyperrhetoric, heterogeneous items are brought into the set
189 hyperrhetoric conducted more with memory than argument or narrative
any research project may be programmed by diegesis of entertainment as rehearsal of discipline
191 electronics is not secondary orality but secondary mnemonics
195 popcycle
196 chorography is a rhetoric for writing w/interpellations
201 chorography is the method of chance
201 TUNING – bringing areas into the pattern
202 construction of pattern creates creation and resolution of enigmas and enthymemes
203 why is research so terrifying?
Writing w/out the violence of truth
206 chorography is like a slide ruler tuning language and symbol, human and subjectivity
207 chora writing organizes information the way a method actor builds character
210 affective thinking
211 can the face of Cooper evoke the thought of chora (Entertainment figure will teach him….)
in my remake, he thinks about Derrida (imaginative writing – remember Lyotard’s imagination)
emphasis on style
212 actor’s style teaches a rhetoric (media age marked by celebrity- McLuhan, roles not jobs)
213 the pattern traces understanding and learning
215 feeling – cannot negotiate the differend by argument
216 knowledge is not in a place – it is not there except as ghost – as pattern
217 choral work begins w/enigma based on stereotypes in a culture
218 theories and stereotypes are not distinguishable
219 to take into account one’s own stereotypes – write from the popcycle
221 chora is a sorting machine
chorography is learning from the chorus
222 the database needs to be made stupid as well as smart to take into account unconscious
inferential thinking
228 punceptual rathr than conceptual
231 illusory resolution accomplished with mechanisms of dreamwork
233 desert is his choral word
234 luck means linking Cooper and Derrida
237 it invents, it does not verify
238 to evoke – not argue – the case of justice
239 how will electronic identity hold subjects responsible? – see McLuhan on identity too
240 a paradigm on justice is evoked
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