[D-G] New (Philosdoph) Developments on the Web

[Johnatan Petterson]

Hi Listers.
Quick notes from the internut class underground.
The Original, VS the Stamp.
Child: when draws: operates, Stamp Procedural.
a guy is mind-applied, pre-de-composed in two hands, two arms, two legs,
two feetts , a trunk, a head, and two ears nostrils and eyes.
The Adult BWO, adds up freeflow into Draw: Light-Variation, driven by in
push&pull line with dancing feed-backs, Self-Consciousness Upper-Head Feels
the Cracks in the Procedural Module (hot and immediate feedback which draws
the Zen Line)
VS Child : The Stamp: the words, the dashes, the virgules said by DG " to
fill the canvas as so many "singularities ???",
-indiosynchratic: limited due to small number in the philo-sophistic
Originals' systems., of Philo-History.
The Original: how she strolls along between easels, in the Nude Model Class,
Each students Originality in'style, notices she, is  decidedly doing
Communion, after 18year old: the Teenager steals her Freedom from the Adult
World.
(Not found much Help in DG WIP? advises: Have to read "George Didi
Huberman's "La Peinture Incarnée", with "Le Chef D'Œuvre Inconnu" de Balzac
Honoré", )
(Not found much Color-Light in Paul Klee's various writings.)
So, are the Easels, Paradigmatic? Is Bonnard, and Degas and Matisse,,
Drawing Paradigms?
-> A Re-Instauration of Procedural Drawing?
Or can the Teen-Ager DG analysis of VanGogh's dashes as concepts help us to
escape from Adult World?
Une Bonne Poignée de Main,
J.P.









2017-03-05 17:50 GMT+01:00 Mike Lansing <badger2 at mail2world.com>:

> Yes, we left the typo in the thread title. We're still hwere, in the
> gooey curare-resin ("Chewy, can you hear me, see me?!") and have already
> done parallel graphics for some language lines (Russian example),
> because the peripheral eye can pick up the parallel language as their
> (saccade) moves along. It is, of course, a mimesis of poor Chinese
> people who used to use glow-worms. If there were a drawing capability,
> one could sketch out, for example, some of D&G's graphics in their own
> hand, which exercise indeed goes into the machinic unconscious. We see
> forms emerging, Guattari's schizoanalysis applied to Marguerite Porete.
> If we could draw what we see in our heads, it would be something like
> Spinoza passing by Porete's body fastened to the burning scaffold, in
> comparison to G's symbol for decidability. Should Spinoza continue on
> and not let anyone see he is interested or seduced by such an audacious
> scene?
>
>
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