Znamya Space Mirror (1993)
This 20m wide satellite was a series of experiments by the Russian Federal Space Agency, exploring the possibility of bouncing solar radiation to urban and agricultural areas plunged into darkness for much of the year. Through said illumination perpetuation of “workable” hours could be increased, accelerating Value production.

Light as a unit of comfort, or facilitator of action that can be made profitable through artificial/ human interference. How might this impact other beings across the Scene? What might it be like going from the very dark to the suddenly very light within a second? How would this affect how one orients and navigates; what would the immediate affect be to our cells and. neurons and what might they say? Could artificial light from a screen or lamp be deemed as critical to a value system, if so then what kind of value system and whose? 
Excerpt from, Hito Steyerl Too Much World is the Internet Dead? p21
Image as as tool of discomfort and a place for labour.
Steyerl's writing combines a blend of fact with imagined futures, bringing to mind what McKenzie Wark calls ficting/ facting. →
Fountain of Youth Lucas Cranach the Elder (1546)
The fountain as a place of rest and
rejuvenation in which an endless cycle of beings bathe and pass through.
distill me
move me
absorb me
transition me into shades inbetween
Rituals of health and the pool, watery bodies, as means of transition. Cold water is known to reset the nervous system, could one evoke this reaction or photocopies/ memories of this reaction through separated mediums? The sea on screen, a cold viewing space. Or perhaps goose-bumped images in the company of trays of water.

How does the temperature of something affects one's connotations? We know the brain remembers pleasant experiences more readily than uncomfortable/ traumatic ones? Benjamin called existence within the modern as "a shock to the senses" does this affect how we remember? Do our bodies hold this; is remembrance more somatic than cerebral?
Open access to units of capital, relationship between us and objects of value and our access to them. Comfort as a measurable unit within relations of value.
Centrifugal Forces. Distillation of *something* through spinning/ circulation/ repititive motion →
Vector: qualties with both direction/force and magnitude →
Let's flux between 3-D and 2-D dimensions.
Between material & somatic, somatic & semiotic, semiotic and material.
force .
Education Authority of Glasgow, Special Services, 1925, screenshot, National Library of Scotland, Moving Image Archive. →
Children play ring-a-ring-a-roses. They circle one way then another, orbitting a central child.
Excerpt from Dissertation.
Forces created partly by humans not out with our control that emit forms of temporality that bathes us in a spatiotemporal vortex that is radically different from human-scale time.Morton mentions that philosophical reflection on hyperobjects is a form of rest; acknowledgment of the hard to fathom.
The Rössler Attractor,
The Rössler Attractor exhibits the solutions of three nonlinear differential equations and reflects the chaotic dynamics related to its properties. An orbit imitates an outward spiral close to the x, y plane around an unstable fixed point. Once spiralling out, a second fixed point causes the graph to twist in the z-dimension, presenting elements of a Möbius strip (an endless loop). When we spiral/ dissociate we loop into endless dimensions of discomfort.

Old work.
Showing an object of capital/ an object created by/for capitalist growth, being manipulated by invisible force. Idea behind cyclical movement was to create feeling of endless loops, endless motion, too reflect endless cycle of goods and capital around the globe.
🐛🍋 📡
Excerpt from, McKenzie Wark, The Vectoralist Class, in e-Flux, Issue 65. →
Wark talks of our world going through 3 distinct transformations as capital occupies it as terrain. These transformations happen in the historic as a method of temporal organisation but all classes of beings oppressed by capital interact with one another in what Wark calls a three dimensional game of chess. The role of technology for example creates a new class (which Wark names the hacker) whose spatio-temporal signatories are occupied by capital in distinctly different ways than than those in the Industrial worker class. As with previous the first and second natures (we are in the third one now, heralded into being by technology)

Transition indicates movement both spatially and in ones self. Our ideas of self are still very much materialised through the motion of capitalism; influenced byl, moved through and impacted by . We must always be ready to adapt to the New. Dismissing forces of value, time and space as mere constructions, and framing them as such, causes a gap to occur, where one’s awareness and one’s own placement within these forces is indefinable (these gaps vectoral forms.) Similarly, dismissing these forces as past or purely framing them through a historic lens perpetuates the same effect. Without consciously exploring these states and signals we progressively become pessimistic; active participants within the perpetuation of Realism.
Plane Propeller at Heathrow.
Swirl at centre is for safety of birds and humans. When in the air the white circle of the swirl in motion deters birds from lying into the propeller and when on ground the same swirl circle indicates to the ground crew that the engine is on.→
Mechanisms of safeness for multiple beings. Creating experiences that are comforting, engineered to vaporise feelings of safety amongst those localised.
Our conception of music is systematically built on what one hears within the womb, our sense of rhythm for example is based on the heartbeat that echos within the womb (stemming from those who carry us). How might different frequencies of rhythm affect us in conscious and unconscious ways?
Rössler Attractor Stereoscopic View (Parameter values: a=0.432, b=2 and c=4.)

"I am a very visual person, I apologize for that. Curves in 3D-space fascinate me. I had planned to generate a "knotted limit cycle" when Art Winfree told me about the existence of chaos in 1975[...] I wondered if a rope around the nose, circling it in several loops before falling off at the tip and then curving back to the starting point or its neighborhood, would not produce a similar tangle in 3D-space. Then this narrowing tunnel-like slinky got magically flattened in my mind into a spiral which strangely was expanding rather than contracting before being bent into a reinjection loop [...] Thus a letter-Z like slow manifold (in Christopher Zeeman's terms), but laterally extended into a sheet, was kind enough to offer itself as a host in my mind. One could prove the existence of chaos, with a 1D return map [...] Simulating the expanding spiral on the lower floor of the letter-Z paper worked in December of 1975. Leaving the safe ground of singular perturbation was facilitated by remembering the rope around the nose. [...] Robert Rosen first saw the 'spiral-chaos' simplified attractor slowly take shape on the slow desktop plotter. " →
Idea of something from the realm of Mathematics, a study that is very tied up with connotations of harsh abstraction and rationalisation (Cartesian Binary) being first visualised in relation to the body. The contrast in these scales is interesting to me; movement from the local to the delocal.

Having a very limited knowledge of physics/ mathematics the language used within this passage is very evocative, one doesn't so much know but feel what Rössler describes. What psychologist Eugene Gendlin calls a "felt sense". So I guess for me, the passage crosses the boundary between physics and metaphysics, the later being a place in me that I can fictionalise and change completely if i so wish. My understanding of the world being purely authentic, and thus relational to myself.

The later excerpt discussion of the illustration of the image once confined in Rössler's head, being made "visable" to others by technology, is poignant. Images walk of screen and into us, moving through spatio-temporal boundaries to impact the present. Again movement within the Z-dimension appears, movement into the depths of screen perhaps mirroring this movement off and into the physical environment?

Lastly, the idea of slow technology is almost funny to conceive of amongst speedy mono-technologisation. The disadvantage of the instantaneous is there is almost no dramatics or suspense built up around discovering something through screen. The loading bar is sentimental in that it evokes memories of waiting for a game to download itself onto a robust hard drive, waiting for the download to complete was as much a part of the experience as playing the software. Creating pause and delay with modern technology/ making old technologies / hardware super contemporary, high speed.
“An internal aura that encompasses everything you feel and know about a given subject at a given time- encompasses it and communicates it to you all at once, rather than detail by detail.”

Gendlin, Eugene, Focusing (New York: Random House Digital, 1982) p.32-33
Mutual play, mutual aid.
Carved stone balls, dating from as far back as 5,200 years, mainly found in Scotland.

Decoration on them falls into three categories: those with spirals; those with concentric circles; and those with patterns of straight incised lines and hatchings. More than one design tends to be used on the balls, with creators expressing individual creativity while engaging with artistic tradition, leading each ball having unique characteristics.

The intended function of the orbs is contested, with a wide rang of theories produced but none gaining wide acceptance. Suggested uses fall into ceremonial and practical categories. Possible ceremonial use includes the object being used as oracle; the way the ball coming to rest being interpreted. The lack of balls found in graves maybe suggests that they were considered communal objects, not belonging to an Individual. The balls are a size that fits comfortably in hand (ergonomic design), perhaps indicating "right to speak" when holding the object. A practical suggested use is as a 'sink stone', weights used to hold down fishing nets when under water.
Using an object to both engage with the chaotic and uncontrollable through the movement of the orb and using the chaotic as a means to control and influence the future. Many sided nature hints at many sided potentials, think of the butterfly effect, in the rolling of a dice like ball there are as many futures stemming ahead as there are sides to the object itself. Form of the ball with smaller orbs surrounding a central, or 'heart' ball is quite atom like in construction.

Idea of an object being reveled by digging, looking into and through something. In some sense, archaeology and meditation are driven by a similar curiosity and sense of knowledge. A reflection on the past to inform futures, the idea of epistemically coming back to the earth to learn, to find out, to diversify thinking.
Apian's Cosmographia
Published in 1584 the work acted as a guide to the field of cosmology or as Apian described it, 'the description of the world (which consists of four elements, Earth, Water, Air, & Fire), also of the Sun, the Moon, & all the stars, & of the heavens with whatever vault covers them.' Cosmographers though of the earth in relations to the heavens and spirituality rather than looking at geography and land alone.

Illustrations depict circles being used to indicate the interaction between spheres used divide the earth, the equator, and those used to divide the heavenly, the zodiac. The Cosmographia also featured sections with information on eclipses, wind patterns, constellations and units of measurement, also including volvelles to aid one with solving problems; finding the time in different places or one's latitude based on the height of the sun in the sky, giving cosmography a practical nature.
Gestell "enframed vision"

Heidegger and latterly Harway, talk on the idea of technology 'enframing' us in relation to ourselves. Touching on the dangers of transhumanism, they describe our identities, bodies, and selves potentially transform into something akin to "standing reserves" through the modification of body, brain and consciousness by new technologies. Transhumanism views the body as extra, external, and a commodifiable product undermining ideas of embodied identity, and creating feeling of restriction through motifs of scarcity situated in direct correlation to the natural form and forms of being.

"Vision in this technological feast becomes unregulated gluttony; all seems not just mythically about the god trick of seeing everything from nowhere, but to have put the myth into ordinary practice. And like the god trick, this eye fucks the world to make techno-monsters." Haraway, Donna, Situated Knowledge: The Science Question in Feminism and the Privilege of Partial Perspectiv, Feminist Studies , Autumn, 1988, Vol. 14, No. 3 (Autumn, 1988) p581

Lets zoom into the infinitely small from the infinitely large. Objective infinite vision is an illusion, an apparition, a daydream. If not in realities it can exist, then perhaps in other more dreamlike and subjective ones it can. Objectivity becomes then about specific embodiment and not infinite transcendence above limits and responsibility, subject and object become one.
" We need to learn in our bodies endowed with stereoscopic vision, how to attach the objective to our theoretical and political scanners in order to name where we are and where we are not, in dimensions of mental and physical space we hardly know how to name." Haraway, Donna, Situated Knowledge: The Science Question in Feminism and the Privilege of Partial Perspectiv, Feminist Studies , Autumn, 1988, Vol. 14, No. 3 (Autumn, 1988)

quick notes on yoga

Yoga often pushes at "the edge" between what is comfortable and intolerable in regards to pain. Ideally it exists within one's practice where you are sufficiently challenged but not so much that you are pushing towards strain or injury. This edge not only exists physically but also mentally, often one doesn't associate strain with the mind however, over stimulation and overwhelming thoughts distinctly 'injure' one's mind in that normal level's of function are hindered. A mental edge then could be described as challenging concentration, focus and willpower in conditions that are not comfortable; breathing into intensity, using the comfortable as a place for growth. By challenging and scoping-out, broadening our tolerance for the uncomfortable in body and mind we are able to move beyond what we think we are comfortable and redefine our limits. This pushing of one's spectrum of comfortability is transformative and has a distinctive force and velocity behind it. In comparison to the pace of the modern lifestyle this could even feel like a lack of velocity. As someone who is neurodiverse and with a high sensitivity to light and sound, I have to be more conscious of what I find comfortable so as to not experience frequent burnout, the link between sensation and awareness key.

Within Yoga Nidra, there is also a presence of suggestive linguistics (especially in trauma informed practices) that acts as an invitation into poses, movements and sensations as per what one is comfortable with. These can manifest in certain strectches as a way to embrace and relax into sensation or within bodyscan centred meditation, as a way to draw attention back to the body:

“In these treatment approaches the story of what happened takes a backseat to exploring the physical sensations and discovering the location and shape of these imprints of past trauma on the body […] patients are helped to build up internal resources that foster safe access (sic) sensations and emotions that overwhelmed them at the time of the trauma.” 1

Focusing on a threefold attack, these somatic therapies centre on: observing the sensory information that is obscured by trauma; aiding patients in befriending these energies freed by inner contact; and resolving actions that were paused while said patients were immobilised. Through re-engaging with sensation and body the idea is that one can gradually expand their breadth of tolerance of distressing bodily feelings and the traumatic events that produce them. By existing in a space where one can push at fields of sensation, and embracing the totalities, the spectrum of feeling one can begin to transform deep rooted responses into a more concious practice.

How then might a screen or technology be used as bridge between these sensations? Ideas of technology as tool and digital warmth became centric within moving this research forward.

“We will let our liquidity roar with deep decibels of waves. We will cruise as wild, amorous monstrous malfunctions. [...] Let’s be beatific in our leaky limitless contagion. [...] Be the glitch.”2

1 Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, (London: Penguin Books, 2014) p 217-218
2 Russel, Legacy, Glitch Feminism: A Manifesto, (London: Verso, 2020), p.152-3

“In these treatment approaches the story of what happened takes a backseat to exploring the physical sensations and discovering the location and shape of these imprints of past trauma on the body […] patients are helped to build up internal resources that foster safe access (sic) sensations and emotions that overwhelmed them at the time of the trauma.”
Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, (London: Penguin Books, 2014) p 217-218
Feelings of personal agency in relation to the body and mind is something important I wished to center within my work; leading from my dissertation which explored ideas of self-soothing in a post-capitalist, digital landscape. When practicing yoga Nidra, it is often accompanied by a guided meditation, an audible set of instructions and visually descriptive prompts designed to encourage deep levels of meditation. This idea of an ever-present tool or narrative, alongside an audible element that is consistent, reliable, and guiding is something I explicitly set as an intention. Audible elements are constant, ever present, something that one is constantly conscious of and processing;

“We breathe background noise, the taut and tenuous agitation at the bottom of the world, through all our pores and papillae, we collect within us the noise of organization, a hot flame and a dance of integers.”1

The difference between noise, sound and silence can be highly debated, with contemporary thinking stemming from an embracing of all forms. Noise exists as an excessive, plenitude of a form from which all new forms can arise. However, the complex and inconsistent nature of it as a medium can, in some instances;

“overloads the listener’s capability to understand sound, presenting a chaotic and unstable set of relationships that engulfs the order and simplicity of pitched sound.”2

Obviously in the hopes of achieving an experience akin to deep meditation I wished to avoid sounds that may distress the viewer, however I feel like the relationship between noise and ourselves is far more nuanced than it being excessive in a negative sense. Fullness and unpredictability can be engaging for the mind in calming ways, providing focus on a conscious level while deeper relaxation happens in levels of subconsciousness. Sound travels in particle waves, noise arising as irregular vibrations while sustained tone is formed from regular vibrations. Even if wearing sound canceling headphones, one can still experience noise through its physical vibrational properties. This plentitude gives noise a readily accessible nature. As Serres says “‘hearing is better at integrating than analyzing”; it is more difficult to separate the listener from sound than the viewer from the seen.3 Noise is often conceptually situated amongst excess and following this, is often characterized as ‘outwith control,’ transgressive in nature when compared to controlled sound elements. One cannot close one’s ears, whether readily conscious or not, one is constantly absorbing noise data, moved and impacted consequentially; this is a beneficial characteristic not a negative one.

Post-industrial revolution Russolo noted; “Today noise reigns supreme over human sensibility.”4 The sharing of labor amongst technology and human for Russolo and other Futurists signified a revolution in readings of the sonic, “pure sound” not being able to compete with the new, complex mechanical sounds arising from cities.5 Benjamin in the same era talks of the repeated neurological shock that is endemic to Modernity, our agency dissolving through persistent and repetitive waves of over-stimulation.6 There is a continued history of noise being metaphorically compared to an unsettled mind due to its fullness of form. This blanket of sound effectively dispels other noises, shapes, or thoughts beneath its dominant volume. However, as with all things noise exists along a spectrum and just as there can be moments of chaotic loudness, there is also opportunity for moments of mindful, quietness. Noise could then be framed as an existential space within our minds from which cycles of forms can gradually arise, momentarily meet, only to dissolve with the potential to reform again countless times.

John Cage~ In a Landscape (1948)
Pictured here is the last measure:“Play without sounding, release pedals (thus obtaining harmonics”). Relation between movement and subtleties, a meditation for both the performer and prompt for deeper listening for audience.
As an ever-presence, noise is often witnessed as mundane As an ever-presence, noise is often witnessed as mundane and disruptive of silence, with sound within art often viewed as “in the process of lastingly polluting our representations.”7 The idea of art to be separate from daily life is interlinked here with the idea of sound polluting quietness and contemplation; our ability to attribute meaning (a clear mind) impacted by sounds available naturally. Sound is something that aides communication and without noise, language and discursive practice would not exist in the first place.8 The need to separate the mind from noise or the naturally occurring, echoes broader Cartesian binaries on the separation of the Human from Nature, particularly the concept of a “pure,” untainted sacred space of all meaning. We can see direct correlation here to the prevalence of the white cube gallery space. Sound radiates out in wave like patterns from an object while Cartesian narratives create imperial mono-hierarchy through which the rationally thought and designed is fetishized. A lot of the research surrounding this project stems from anti-hierarchical formations of thought and organization and so the work set out to be devoid of this hierarchical verticality.

While discussing the vertical, Adorno derides philosophy’s presumption of belonging or meaning denoting earth and origin which perpetuates the idea of violent groundlessness or uncontrolled fall.9 Anti- and post-foundational philosophy discusses the rejection of the concept of a given and stable metaphysical ground, stemming from a constant unsteadiness that is characteristic of our present environments. This unsteadiness or constant need to detach from the present to a purer state of human consciousness is based on the on the ideals of rational Enlightenment thinking. Moving through Heideggerian metaphors of ground and the relationship between abyss and ground, thinkers within this movement see this experience of instability as an experience of freedom.10 Critical within modernity, is the lack of meta foundational space for object, subject, space, and time amongst the dominant. Adorno notes that although falling can be shocking, this shock is inclusive. In this shock the senses and by proxy, our selves can be liberated; allowing for new modes, new spaces for listening to form.

An embracing of all sounds (all listening) can be traced back to Russolo via Cage, Schaeffer, and Varese, with Cage taking this egalitarian view of noise/ sound to its logical conclusion "those intended and those others (so-called silence) not intended."11. His most famous work 4’33” (Fig. 1) silenced the need for expected music and consciously musicalized the surrounding environmental noise;

“You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.”12

Cage proposed that any sound can be used in music; negating the need for intention within music; “only a willingness to attune to aural phenomena”; taking the emphasis from the creator within music and situating it within the listener.13 The line between sound and musical sound is dissolved, every sound imbues the properties of an intentioned sound. With Cage there is a movement towards the use of sound as somewhat documentative of a moment. A turning inwards on surrounding sound that through the establishment of a conceptual space becomes interested in personal internal dynamics, alongside the dynamics of the outside environment;
"the locus of the acoustical experience's meaning is transferred to the listeners, who are therby allowed to 'become their own centres' rather than submit to the will of either composer or performer."14

No one experiences things the same and personal connotations and subjectivity pay a large part in how one navigates and interacts with a work. Instead of setting out with a highly rigid conception of what should be conveyed, I wished to create a space in which one could personally form thoughts and feelings without judgment. One can then work from one's own centre, not in isolation but without being pushed in one particular direction. There becomes a malleable, multi-directional space from which one can slip in and out areas that peak one's interest.15

1 Serres, Michel, Genesis, trans. James, Genevieve and Nielson, James (Ann Arbor, MI; University of Michigan Press, 1995) pg. 7
2 Kelly, Caleb, Cracked Media: The Sound of Malfunction, (Cambridge, MA; MIT Press, 2009) pg. 70
3 Serres, Genesis, pg. 22
4 Russolo, Luigi, L'Arte dei rumori (1913), trans. Filliou, Robert, The Art of Noise, (New York; Something Else Press, 1967) 4: pg. 5-6
5 "In the pounding atmosphere of great cities as well as in the formely silent countryside, machines create today such a large number of varied noises that pure sound, with its littleness and its monotony, now fails to arouse any emotion." Ibid, pg. 6
6 "An intoxication overcomes the person who tramps through the city streets for a long time without goal. With every step the going gains in force [...] Then comes the hunger. It will heed nothing of the hundred possibilities of stilling it. Like an ascetic animal he strides through an unknown quarter, until, in the deepest exhaustion, he collapses into his room that, strange to him, lets him in coldly." Benjamin, Walter, Illuminations, trans. Zohn, Harry (New York: Schocken Books, 1969) pg. 525
7 Virilio, Paul, Silence on Trial, (2003)
8 Serres insists that background noise is the “universal condition of all exchange” Serres, Genesis, pg. 192-3
9 Adorno, Negative Dialectics, trans. Ashton, E.B., (New York: Continuum, 1972), pg. 43
10 Steyerl, Hito, “In Free Fall: A Thought Experiment on Vertical Perspective”, in, The Wretched of the Screen, (Berlin: Sternberg Press, 2012), note 1, pg. 29
11 Cage, John, Silence: Lectures and Writings, (Hanover, NH: Wesleyan University Press, 1973), pg.13-4
12 Cage, John, quoted in, Ross, Alex, "John Cage’s Art of Noise", in, The New Yorker, September 27 2010, https://www.newyorker.com/magazine/2010/10/04/searching-for-silence [last accessed: 25/07/22]
13 Kahn, Douglas, "The Latest: Fluxus and Music", in, Armstong, Elizabeth and Rothfuss, Joan, eds., In the Spirit of Fluxus (Minneapolis: Walker Art Centre,1993) pg. 102-8
14 Joseph, Branden W., 'The Tower and the Line: Toward a Genealogy of Minimalism', Grey Room, no. 27 (2007) 59-67; 69, in Sound: Documents of Contemporary Art, Kelly, Caleb, ed., (London; Whitechapel Gallery and MIT Press, 2011) 43-53: pg. 45
15 Deleuze, G. and Guattari, F., A Thousand Plateaus: Capitalism and Schizophrenia, trans. Massumi, B., (Minneapolis: University of Minnesota Press, 2005)
4’33” (In Proportional Notation), John Cage (1952/3).
“For any instrument or combination of instruments.” Cage’s minimalist, “silent” work uses silence to attune the listener to the world around them. A score for the mundane that moves the audience to consider the sounds that are inbuilt in ‘silence’, bringing them to view all sounds as music, disrupting the hierarchy of sound and redefining the notion of what music is. The piece can never be played the same, reflecting Cage’s interest in chance as a compositional strategy, control redacted from the composer.
"The result is a strange, metaphoric landscape: data mountains, data streams, data leaks, data fog, data pollution, data collapses, and even data deluges. The goods are harvested, mined, sold, stolen, protected, purchased, fabricated, marketed, and even in some cases given away. This is the new "natural" world—the world of data." Jarzombek, Mark, “Digital Post Ontology”, in e-flux Journal, Becoming Digital, (January 2019)
Our societies are defined by what they choose to deem as valuable. The rhythms of power and wealth production and distribution, are born from this decision of the valued and the valueless. In the feudal system and most tributal systems, this stemmed from regional land productivity. Thus, our spatial awareness of these concepts had a material root within nature and the landscape surrounding us. However in the post-internet era, our environment is less temporally and spatially situated leaving our tools for navigating these landscapes, the senses moot. How then does one navigate a sensory landscape both devoid of input for some senses (taste, touch, smell) and over-stimulating (sight, sound). How can one map (hold this environment) in their mind?

“even spatial distance reduces itself to time; the important thing is not the market's distance in space, but the speed – the amount of time – with which it can be reached”1

Through a material-symbolic redefinition of space through systems of value, capitalism and realism found their success; "time as linear, space as flat, and nature as external."2 The removal of things from their “spatial and temporal order” similar to Freud's definition of a dream state, echoes our own withdrawal into reductive logic.3 The use of rationality as a tool of never ending expansion separated us from nature so as to control it, birthing Anthropocene-centric thinking. Following this perhaps the internet and digital can be thought as the completed form of this movement (an absolute reduction of spatial-temporal relations); a collective dream-world;

"Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory - precession of simulacra - it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map.” 4

Although controlled by others, so expansive and void-like is the internet in it's form (endless black matter) that the nature of being relentlessly expansive means there is always new space. Space to reform, and redirect energies. If this space is already our default, our "natural" then perhaps we already have the tools and means to do so.5 However, if this reduction of things to matter-less forms (“All that is solid melts into air.”) is what is leaving one with feelings of overwhelm and a lack of agency, then reconceptualising elements to have some sort of somatic or material presence is a more sustainable practice. Morss writes on history ‘betraying”us (a sentiment based on Benjamin’s writing) and elaborates further, explaining the somewhat hollow practice of sticking a ‘post-’ era onto these histories to soften and rationalise these failure;

“History has failed us. No new chronology will erase that fact. History’s betrayal is so profound that it cannot be forgiven”.6

In rationalising those that have passed us- post-Marxism, post-modernism, post-capitalism. We run the risk of further abstracting ourselves within intertwined effect. Reducing our shared experience to matter-less ‘dreamland’ only creates opportunity for further abuses of power to take place. Both Morss and Fisher respectively talk of “surprising” the present and threatening this realism through proving it’s inconsistency or, the"glitch" Russel describes.7 8 Cultural uncertainty is seemingly a historically endemic part of a society obsessed by forces of modernisation, the perpetual need for progress, as demonstrated by Benjamin and Morss. Definitions of the spatial and temporal have developed and changed alongside capitalism, and as we move into a new period of domination, acknowledging the historic qualities of these forces helps us occupy the state of 'dreaming'. How could one create feelings of both immaterial and material in the same moment? Can one exist both in a dream and in reality at the same time, and how would this bridge this glitch be in form?

1Marx, K., Gundrisse (London: Penguin Books, 1973), p462
2Moore, Jason W., Capitalism in the Web of Life: Ecology and the Accumulation of Capital (London: Verso, 2015), p61
3Freud, The Interpretation of Dreams, trans. and ed. James Strachey (New York: Avon Books, 1965), note p. 84; Buck Morss, Susan, Vanguard/Avant-garde, (2006), p25
4Baudrillard, ed., Poster Mark, Selected Writings, (Stanford; Stanford University Press, 1988), p16
5Jarzombek, Mark, “Digital Post Ontology”, in e-flux Journal, Becoming Digital, (January 2019)
6Buck Morss, Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West , p68
7Ibid., p67-68
8Russel, Legacy, Glitch Feminism: A Manifesto, (London: Verso, 2020)
transitional movement.
GIF of curtain blowing out from broken window in a burned down, abandoned flat. Ephemeral movement transferred into digital in-between. One can feel the force of the wind through a secondary, symbolic lens. A distinctly different but just as valid experience. ~~~Engagement with the mind's senses.
"We live it without thinking, as if it carried within it neither questions nor answers, as if it weren’t the bearer of any information. This is no longer even conditioning, it’s anaesthesia. We sleep through our life in a dreamless sleep. But where is our life? Where is our body? Where is our space?" Perec, Georges, Species of Spaces and Oher Pieces, ed. and trans. John Sturrock, (New Work: Penguin Books, 1997), p. 210.
Mark Zuckerberg, on Mark’s Homepage, 1999, Screenshot, Google Images.
A page from Mark Zuckerberg’s first personal website.
Bodiless embodiment, the screen looks back at you through the moving image of an eye. An eerie fae-like, monster presence.
The divine human eye in relation to spheres of stars and earth ~

digital sensoryness
A glitch is normally thought of as an error but through symbolic/ semiotic reintegration Russell show how liberation can be found within the fissures between the body, (gender), and technology. Focusing on an argument based around multiplicity, Russel dissects the intersection of this multiplicity, offering the 'glitch' as an opportunity for us to perform and transform ourselves in an infinite variety of identities;

"let’s meditate on the idea of a "[self] with multiple selves" and acknowledge that the construction of a self, creative or otherwise, is complex"​1

Mono-technologies have convinced us that signifying who we are is the only way we are deemed worthy of participation, which not surprisingly, makes it easier to target content for us. In hand with this, establishing oneself around singular definitions has become unviable in a world where the speed of information has sped up dramatically due to technological advancement. The glitch can act as an faulty overlay, a cracked lens, through which an image has no choice but to be fractured. We are required to be multitudinous beings in the modern day; professionals, free labour, observed objects, data mines, but importantly this multiplicity is not for ourselves or formed from our own agency. There is dichotomy between the tokenisation of one's self to be 'easily readable' and the multiple forms of labour/ labour identities one undertakes to simply survive. We can be blurry and indefinable of our own accord, it is our right. It is our right to be abstract and fluid both in body and in mind.

Digital landscapes are not just "enframed" by the eye of mono-technologies but also created for their bodies and normativity.2 Around the time when Google was first assembling a maps division, an employee reportedly noted upon first seeing the technology that eventually enabled the construction of Google Earth; “If our mission is to make all the world’s information useful and accessible then this is the real world."” Platforms dictate the manifestations of our objective rationality through the availability of mass information. This channelling of all forms of energy (kinetic, psychic, electric, petrolic, sexual, atomic) into a singular framed vision, realises a singular axis of time in which the historic melts into the synchronised metric of westernised modernity. This diverse appropriation of perspectives is one that Latour title’s “Globalisation-minus”, not an opening, but a closing of perception. 3 We see this in Instagram’s algorithmic timeline, which reorders time through computational intervention, in the hopes of maximising engagement within the compulsive action/reward loops in our brains. We can no longer simply catch up to the present through the times displayed on our phones, instead a mis-match of word, sound and image is displayed to us based on unitary personal statistics. The body of an algorithm is distant, both more expansive and more compact than the human form. .The framing of technology being far apart from the human echoes transhumanist philosophies; a post-human triumph over nature. A repugnance for the sexual body goes hand in hand into this ideology, the preserved techno brain isolated from limbs, and fetishized as such.

As figures on the horizon “we are stripped of the right to feel, to transform, to express a range of self.”4 Technology is an "organ" something that can push our outlines and materiality.5 There is a feeling of bodily echo with our personal smart devices. They respond to our fingers, read our faces and fingerprints, record our heart rate and breath. This seems at odds with the cold remoteness we experience through them at times. A cursor hover could be a loving gaze, a click a caress. We biograph and recapture fragments of ourselves and others through machines, sharing the most tender and blue moments respectfully, representing ourselves through keyboard, lens and microphone.

“Our best machines are made of sunshine; they are all light and clean because they are nothing but signals, electromagnetic waves, a section of a spectrum. […] People are nowhere near so fluid, being both material and opaque. Cyborgs are ether, quintessence.” 6

Escaping transhumanist thoughts that homogenise beings to terms, and creating new repetitions of technology that open warm sensations of social, political, and aesthetic life becomes of empirical interest. Occupation of the body and self, in physical, metaphysical, and transitional spaces seems key to this vision. Transition indicates movement (MAGNITUDE+FORCE=VECTORAL), in space both internally and externally. 7 Modern neuroscience has clearly taught us that our sense of self is anchored in the connections between self and the body. Self-regulation is the manifestation of movement in self and space, allowing us to express the feeling of a not-yet-possible agency with the hope of this becoming possible when one is regulated. These two ideas are the same at the core; the negotiation of self in the present pulling from physical and ethereal entities. We present an idea of the self constantly, whether consciously or not, and this is not necessarily a restrictive process but one that is malleable. Playing with this malleability, inhabiting a plastic identity though technology as a secondary organ is what could be manifested into hopeful futures;

“The oblique romance of Internet-as-utopia, against this backdrop of reality, should not be dismissed as naive… it continues as a survival mechanism…Using the internet to play, perform, explore still has potential. Giving ourselves this space to experiment perhaps brings us closer to a projection of a ‘sustainable future."8

“The work of inhabiting a space involves a dynamic negotiation between what is familiar and unfamiliar, such that it is still possible for the world to create new impressions, depending on which way we turn, which effects what is within reach. Extending into space also extends what is “just about” familiar or is “just about” within reach.”9

The rituals of documentation can be used to orchestrate the data, realities and aesthetics amongst the landscape to bring one back to the now, the present and the body. Embracing an “imperfect realisation” of self is certainly viable whenever transformative bodies force themselves to be felt. Isabelle Stengers notes that the realisation of ideas indicates the act of writing, once written down ideas then coax us to define associations and meanings, in the transition from writing to the post-verbal reading. 10 The act of writing itself, they note, has the possibility to be framed as attesting to a “more than human world”, chthululic, when not viewed as belonging to the self but an “animation” of experience. The right amygdala, a part of the brain that has a role in memory, decision making and emotional response, is shown to light up, momentarily, whilst under neuroimaging when one hears something that mirrors their own experience. 11 This swirl of activity emphasises the accuracy of reflection; a felt-ness of being seen, of being part of something. Hito Steyerl suggests that images, sounds and data now routinely transition beyond screen into altered states of matter. 12 Far from being aggressively opposite, they say, images and world are for most cases parallel to each other, not direct copies of each other, but diverse, uneven, lacking and excessive in relation to each other. Importantly, this state between image and world gives way to anxiety and speculation. What they suggest as alternative is a sort of “circulationism” in which the production of image transitions to a space of recording, redefining and circumventing structures and powers to a place of equal distribution.

Animating one’s experience of self through documentation, whether using image production, written word or audible protest could simulate the somatic and sensorimotor psychotherapeutic practices through the use of technology as extra to the body;

"there is another path that isn’t full of stress, self-doubt, pain, victimization, and suffering. There is a path in which everything is learning, playing, practicing, doing things anew. ”13
"The way the senses themselves have, of throwing themselves beyond what is immediately given, in order to make tentative contact with the other side of things that we do not sense directly, with the hidden or invisible aspects of the sensible”14

Habitation of the senses is an experience of metamorphic transformation, the act of noticing the sensuous could even be said to give transformative bodies existence, creating instances where the temporal can connect with the present and relish in that presentness. Data is swept along the silver nerves of the body, brushes of sinew and bone occupy the spatial while our ears balance us, our eyes observing and documenting. Deleuze and Guttari talk on “La Ritournelle” (the refrain) as a means of establishing a common denominator, something to accompany and soothe, whilst in transition to elsewhere.15 It is an incantation of claim spatially. A mindful reminder of contentedness, of the possibility of being content again and the disruption of those not operating within this means of contentedness. A child hums to lull themselves, an non-verbal acknowledgement of felt-senses that they might not necessarily have the language to describe. We too, can sound-off reverberations playfully, as a means of;

“any aggregate of matters of expression that draws a territory and develops into territorial motifs and landscapes.”16

These reverberations could take form in image, sound, text, meditation and data as a means of responding to a subjective-objective terrain, each singular reverberation contributing collectively towards a whole; “tra-la-la-la, tra-la-la-la.” 17 The refrain centres on the problem of territory and deterritorialisation, and the exit or entering, the occupation, of territories. So then a combination of fractured practices (so fracured by an narrowed vision) in combination and multiplied together could become multiple wholes. Combining technology as extra-limb in the act of practising the refrain and its repetitions, not only would texturise the body as a territory in which one navigates milleus, subtleties and other spaces, but also suggests a wish/ a manifestation of a radical opening of possibilities.

1 Russel, Legacy, Glitch Feminism: A Manifesto, (London: Verso, 2020) p18
2 “enframed vision” referring to Heidegger and Haraway respectfully.
3 Latour, Bruno, Down to Earth: Politics in the New Climatic Regime, trans. Porter, Catherine (Cambridge, UK:Polity, 2019), p.15
4 Russel, Legacy, Glitch Feminism: A Manifesto, (London: Verso, 2020) p21
5 Giles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and Schizophrenia, trans Robert Hurley, Mark Seem, and Helen R. Lane (Minneapolis: University of Minnesota Press, 1983)
6 Harraway, Donna, A Cyborg Manifesto (1985)
7 Wark, McKenzie, “The Vectoralist Class”, in e-flux Journal, 65, (May 2018)
8 Russel, Legacy, Glitch Feminism: A Manifesto, (London: Verso, 2020) p25
9 Ahmed, Sara, Queer Phenomenology : Orientations, Objects, Others. (Durham :Duke University Press, 2006) p7-8
10 Stengers, Isabelle, “Reclaiming Animism”, in e-flux Journal, 36, (July 2012)
11 Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, (London: Penguin Books, 2014) p301
12 Steyerl, Hito, “Too Much World: Is the Internet Dead?”, in, The Internet Does Not Exist, (Berlin: Sternberg Press, 2015) p20
13 Brown, Adrienne Maree., Pleasure Activism: The Politics of Felling Good, (Edinburgh: AK Press,2019)p16
14 Antrim, David, The Spell of the Sensuous: Perception and Language in a More-Than-Human World (New York: Random House, 1997), p58
15 Deleuze, G. and Guattari, F .'1837: Of the refrain', in A Thousand Plateaus: Capitalism and Schizophrenia. London and New York: Continuum ([1980]1987)
16 IBID. p356
17 Boutang, Pierre-André, Parnet, Claire, Gilles Deleuze's Alphabet Book: O for Opera, uploaded by SUB-TIL productions, Online Video Recording, YouTube (07/10/2020)
The internet acts as Archive, and although vast and ubiquitous in its formlessness, it acts as documentarian; where we can view structures of relations dissolve and reform. THE SELF AS ARCHIVE~

The glitch is a pixelated fall; the cyborg’s ritournelle, a swarm of feeling.

tra-la-la-la-la, the om as drone; a continuous sound.

Acceptance of the effects outwith our control leads us to a state of warm occupation that is undeterred by Capital Realism and logic.

Images magicked onto screen, emanating sounds; put us into a state that makes us feel as if we are encountering the transitional. We move to a subjective-objective world in which we can amplify our inner hum until it envelops, digests and spits out affects beyond our cognition. It creates instances where the temporal can connect within the present, and to relish in that present-ness without agitation and forced transition.

Transition into the future, the next moment, without set functioning, simply enjoying the somatic qualities of the now is the function. A "break" as a source of creative and social inspiration; a voluntary, involuntary experience. Both the physical and digital realms are limitless with ever-large power, places where communication is exchanged with the presumption that words have established meanings and predictable effects.

The internet as an opportunity for the arguing of the importance of locality and the equality of all cultures

Perhaps it is better to revive compromised words, like those which have been restricted to metaphoric use. “MAGICK” is such a word, as we note and speak on the magic (THE EPHEMERALITY) of a landscape, of an event, of a sound. Protected and distanced from the "real" by a metaphor, we have the space to express an experience of an agency that does not belong to us even if it includes us. An agency that has occured due to FEELING. What might an anti-capitalist space look like that is built solely for mutual connection and aid? How would this impact our broader lived experience if this was the norm over spaces that mirror the past over imagined futures? Following the logic of use-based content, it follows that the more we would individually engage with these spheres the more scope they would have on our shared broader consciousness. If these terrains for sharing and uploading were built on the antitheses of compulsivity and the vulturous; if user-based content was designed around grounding and self-regulation; and if the monolithic was transformed into community focused what might our boneless realities manifest as? Both the physical and digital realms are limitless with ever-large power, places where communication is exchanged with the presumption that words have established meanings and predictable effects. Accepting the free-fall amongst scattered metaphors and imagery might open us to find a space where one can explore the intersection of being and becoming; an embracing of plastic identity.
“Consciousness itself is a state of matter”

Tegmark, M., “Consciousness as a State of Matter,” arXiv 1401, no. 1219v2, (2014)
roll the dice of conciousness~~
Wellcome Collection, CC BY 4.0, Diagram Showing Balls Representing Different Stages of Consciousness
A. Somnus - Sleep
B. Somnolentia - sleepiness, drowsiness
C. Vigilia- wakefullness, being awake
D. Plena Vigilia- full wakefullness, alertness

A pH test strip is a strip of litmus paper with which you can measure the pH value of a liquid. The substance in the paper causes the paper to show a different colour at different acidities. The official pH scale is from 0 to 14, where 0 is very acidic and 14 very alkaline

Tools for measuring, signalling, equating. Creation of a tool that measures the substance of consciousness and aids in mapping of an inner world. How might this appear? Could this tool act as a generator, a machine that helps spurn new possibilities and eventualities? A prompt for learning and grounding.

Through technology as a tool a new tool can be compiled together- a mix of sound, text, image, (pixels on a screen) that when brought together becomes a sum of it's parts. The gaps, and broken space between the code (how these things are displayed to the viewer) is what makes this tool functioning- in this breaks, gaps, GLITCHES, a metaphysical space is created, one that transposes self, screen and body. An assertion of inseparability, which still moves as one, but is a function of continual and ubiquitous differentiation. An ever-moving technic movement (algorithm/ spine of code) that differentiates through the unique subjective perspective of the viewer. This spin of narratives is the end function of the tool, made possible through the unconscious measuring the viewer undertakes while in relation to the tool. A measuring, signalling and equating instigated through media.
"it has become clear that images are not objective or subjective renderings of a preexisting condition, or merely treacherous appearances. They are rather nodes of energy and matter that migrate across different supports, shaping and affecting people, landscapes, politics, and social systems. They have an uncanny ability to proliferate, transform, and activate.”

Steyerl, Hito, “Too Much World: Is the Internet Dead?”, in, The Internet Does Not Exist, (Berlin: Sternberg Press, 2015) p11
media as matter.
Mycorrhiza in root cells from a plant of the genus Corallorhiza Orchidaceae.
Mycorrhiza "fungus root" is the term for the underground connections between fungi and plant roots. The connections act as a passage for substances both lifeforms need to grow; plants provide carbon-rich sugars made by photosynthesis, and in return they get nutrients, such as phosphorus and nitrogen, that the fungi scavenge from the soil. As the fungal threads spread, they can link up to multiple plants, creating webs known as ‘common mycorrhizal networks’. Through these networks, plants can exchange sugars, nutrients, water and more. By encouraging plants that are connected by common mycorrhizal networks to suck up isotopes (isotopes are atoms of an element with different numbers of neutrons) of a resource like carbon, it’s possible to trace the resource’s progress from one plant to another. From this research, a picture emerges of individuals sharing with those in need, of ‘mother’ trees sending carbon to seedlings, and of dying trees donating nutrients to their neighbours.

"one could say that pines, matsutake, and humans all cultivate each other unintentionally. They make each other’s world-making projects possible. This idiom has allowed me to consider how landscapes more generally are products of unintentional design, that is, the overlapping world-making activities of many agents, human and not human. The design is clear in the landscape’s ecosystem. But none of the agents have planned this effect. Humans join others in making land-scapes of unintentional design. As sites for more-than-human dramas, landscapes are radical tools for decentering human hubris. Landscapes are not backdrops for historical action: they are themselves active. Watching landscapes in formation shows humans joining other living beings in shaping worlds."

Tsing, Anna Lowenhaup, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins(Princeton: Princeton University Press, 2015) p152
“Forms are active not because they are kinetic but because they interact, evolve and unfold in dialogue with the world around them. Active form offers other toggles and dials for manipulating and rewriting bits of code in the system.”

Esterling, Keller, Subtraction (New York: Sternberg Press, 2015)
non-hierarchal thinking
The globe is a deepening space for relationships far beyond the simple human-to-human and these connections are significant in their power. As the contemporary epoch rings with the actions of the Global North, those affected vary in species and size. While the world seemingly swells with the ever-large it feels important to re-establish connections on a smaller more localised level. There is agency within our very bodies, neural pathways and white blood cells, as well as on a micro level as molecules reach states of equilibrium.1 These are not new concepts, writers from Harraway to Deleuze have long expanded on this, and in sociology the Actor-Network-Theory social theory proposed by Latour.2 However, the invisible forces of financial capitalism often still leave a wake of disorientation after them that spans interspecies experiences. Decisions can collide into other beings, relations or forces, out with our awareness.

Modern ecology has progressed past flat ontological thinking where nothing consequently has dialogue with anything else, to post-structuralism, where power dynamics are inherently viscous; their impact on the world around them tracked through constellation-like layouts. 3 Connecting things non-hierarchically, connecting heterogenous practices and concerns, where any being is liable to connect with any other, and creating space for all inhabitants of earth to occupy their agency is described by Deleuze and Guattari as “rhizomatic thinking”;

"connections between semiotic chains, organizations of power, and circumstances relative to the arts, sciences and social struggles"4

Similarly Eduardo Viverios de Castro poses multinaturalism in contrast to multiculturalism, the former affirming a multiplicity of natures as opposed to the latter which is built on the concept of homogenous nature touted by neoliberal views. They note the importance of not claiming that each culture has an unique essence, which can be othering, but rather affirming differences through arguing the importance of locality and equality of all cultures. The world is autopoetic without humans; self-forming, boundary maintaining, dynamic, and most importantly, acts as a frame for when our actions have consequences.5 As Crist writes, embracing our insignificance within a broader whole, and declining technocratic, exceptionalist visions;

“invites the priority of our pulling back and scaling down, of welcoming limitations of our numbers, economies, and habitats for the sake of a higher, more inclusive freedom and quality of life.” 6

What might a space look like that is non-hierarchical? The image that follows the one before every bit as equal and valuable. What qualities might it have?I wish to explore the structure of writing and moving image as modes of narrative; a building or collaging of phrases, words, images, sounds and experience that culminate together into one whole. Each one (node) scales up to the whole, but the whole also scales down to individual works, images and sounds. Something collage-like that flexes with each viewer's own personal modes of interpretation.

1 Bennett, Jane, “The Agency of Assemblages and the North American Blackout”, in, Public Culture 17(3) (Duke University Press, 2005) p445-65
2 Latour, Bruno, Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford: Oxford University Press, 2005)
3 Weiner, D.R., A Death-Defying Attempt to Articulate a Coherent Definition of Environmental History, Environmental History 10, no. 3 (2005): 404-20
4 Deleuze, G., Guattari, F.,A Thousand Plateaus: Capitalism and Schizophrenia, trans. Massumi, B., (Minneapolis: University of Minnesota Press, 2004) p7
5 Lovelock and Margulis, “Atmospheric Homeostasis by and for the Biosphere: The Gaia Hypothesis,” Tellus, Series A (Stockholm: International Meteorological Institute) vol. 26, nos. 1–2 (February 1, 1974):p 2–10
6 Crist, On the Poverty of Our Nomenclature, Environmental Humanities 3 (2013): 129–47; p144

ephemeral notes on limbo/ fiction/intertemporality / ontology/ somatics/
coexistence/ cosmotechnics/ transition
Jellyfish Fossils,
Jellyfish fossils are extremely rare due to the bodily structure of a jellyfish being soft; without bones. Instead fossilised jellyfish are only found as 'soft fossils' a process that happens when organisms are quickly buried in sediment, leaving an imprint in rock.
soft, anti-structures of form

imprint of a past, fluid form against an ever-present, ever-lasting hard substance. The trace of an image against the closed membrane of a pressed eyelid OR the mind's eye.

soft bodies, soft form, soft listening.

delicateness held in a fine tuned balance~~~ the result of a balance of ephemeral qualities

aesthetic qualities of a single-cell; nucelli like in appearance.

Brain Cells,
Jellyfish fossils are extremely rare due to the bodily structure of a jellyfish being soft; without bones. Instead fossilised jellyfish are only found as 'soft fossils' a process that happens when organisms are quickly buried in sediment, leaving an imprint in rock.
~~ distilling this idea of circulation, circulatory movement and circular form back into a visual that has echoes of the body. Cells exist as singular identities, and scale up into a larger form as components. This idea of scaling and moving from the very large to the very small through a zooming of visuals has quite strong similarities to Esterling's quote from 'Subtraction' and Steryl's quote on the impact images can individuals have on our world; an idea of cause and effect played out like dominos from something very small like a cell up to something very forceful in global impact. There's a level of comfort one can frame this as, our actions or small changes one may consciously take as having the potential for positive impact. A multiplicity of levels that interact and exchange with one another through these forged paths of agency. Molecular energetic in their reverberations.

""Consciousness, at least as we know it, has to be a molecular phenomenon..." Delany, Samuel R. (2012-03-26). Through the Valley of the Nest of Spiders (Kindle Locations 11733-11734).
Magnus Books. Kindle Edition



and Electrons

and Bosons

Gauge bosons
and Scalar bosons

Up, Down, Charm, Strange, Top, Bottom
Electron, Muon, Tau etc.
Photon, Graviton, W and Z bosons, Gluons
Higgs boson


Screenshot from Wikipedia page on Elemental particles and particle physics.
a queering, mapping and occupation of a digital terrain
“[t]he question of x might be more ordinary in disciplines that have long histories of affiliation with the state" (distance from this state gives queer theory the) "power to wrench frames." (to) “transfor[m] both the object and the practice of criticism.” Lauren Berlant and Michael Warner. “What Does Queer Theory Teach Us About X?” PMLA 110.2 (1995): 343-
"… the nonhuman domain of cells, enzymes, and genes... metabolic networks, biopathways, single-point mutations, immunoknowledge, protein folding – offer a resistance to the genecentric and reductionist approaches taken by the biotech and pharmaceutical industries." Eugene Thacker. The Global Genome: Biotechnology, Politics, and Culture (Kindle Location 2808). Kindle
“We could approach the dancing table quite differently, if we see that the life of the table is ‘given’ through this intimacy with other lives [...] A table acquires a life [...] through what it comes into contact with, and the work that it allows us to do [...] The dancing table would be for sure a rather queer object: a queerness that does not reside ‘within’ the table but registers how the table can impress upon us, and what we too can borrow from the contingency of its life.” Ahmed, Sara, Queer Phenomenology : Orientations, Objects, Others. (Durham :Duke University Press, 2006) p164
“The state of mind which analysts describe as a repetition of the infant’s feelings in its mother’s arms, the state which Freud called oceanic, is thus being regarded by certain writers on art as an essential part of the creative process. But it is not the oceanic feeling by itself, for that would be the mystic’s state; it is rather the oceanic state in a cyclic oscillation with the activity of what Ehrenzweig calls the surface mind, with that activity in which ‘things’ and the self, as Maritain puts it, are grasped separately, not together. And the cyclic oscillation is not just passively experienced but actively used, with the intent to make something, produce something." Marion Milner, Psychoanalysis and Art (1956), pg 159-60
molecularisation/ soft bodies
Matter, material, cells and atoms are present through every physical interaction we have with the world. We touch/ are touched; listen to/ speak through; move/are moved; through their structure and form. Their forms are imagined as circular and unitary, building up to a full vision of a whole thing. Bennet in a nod to Spinoza, notes the fields of molecular biology and chemistry as representative of a sort of “self-organizing capacity of inorganic systems.”1 On another more global scale, the biochemical industry has created new components of capital;

“the world economy is dependent on the production and circulation of hundreds of tons of synthetic steroids and technically transformed organs, fluids, cells (techno-blood, techno-sperm, techno-ovum, etc.).” 2

Although the influence of the molecular as central to the global economic system is debateable, there is a distinct feeling of scale at play within our collective thinking of 'the molecular'. Here, marked levels of molecules and related concepts, effects and conceptualisations interact at differing planes, with unique pathways linking them into and to each other. These pathways perhaps act as a mode of conceptualising or understanding the socio-ontology that surrounds the 'molecular'. I am concerned with this idea of a molecular consciousness, or, the theory that surrounds materialising something that is by definition- immaterial;

"the absence of the relationship does of course not prevent the tie (la liason) far from it - it dictates it conditions."3

This gap, 'glitch' or nameless relation that “dictates the conditions of what ties us” -links like a DNA thin pathway -“which is to say that it is not a simple, indifferent absence, but an absence that curves and determines the structure with which it appears”. Lacanian scholar Zupančič goes on;

"The non-relation is not the opposite of the relation, it is the inherent non-logic (a fundametal 'antagonism') of the relations that are possible and existing."4

This ontological and epistemological issue concerns itself with communication or effective depiction and Zupančič also notes the field of psychoanalysis as primarily concerned with this finding of the 'right word', to untangle the logic behind the collection of linked meanings produced by the affect of free association. This depiction is extremely alchemical; a voicing or putting into action; a naming or sounding; a moving of the particles that make up the unknown.

Marx's theory of "concrete abstraction " is characterised by a “synthesis of many definitions, thus representing the unity of diverse aspects.”5 In Jordana Rosenburg's essay "The Molecularization of Sexuality: On Some Primitivisms" they pull from Marx's Concrete Abstraction and align it with the molecular. Describing the ontological qualities of the molecule as:

"it is on the grounds of its sexualization – by which I mean, its figuration as fantastically aleatory and seemingly essentially resistant to discipline – that the molecule becomes an abstraction. [...] the molecular has become linked with a seemingly inexhaustible number of claims about both the contemporaneity of ancestralness and our peering over the brink into a fully new historical moment.[...] Indeed, it is for this reason – because of its simultaneous sexualization and its abstraction –that the molecule signifies futurity and primitiveness at once. "6

The molecule can appear as an ur-object so to speak, both distinctly representative of our past, future and counter-intuitively, the frictionless space between these states. Part of the molecule or cellular charm is it's multiplicity; a characteristic in the later case exemplified by cellular turnover and regeneration. Holistically there's is comfort with imagining yourself as a regenerative form, both grounded by previous iterations of 'self' and propelled forward by the prospect of being a brand new form on a cellular level. It takes between 80-100 days for the body to regenerate the 30 trillion cells that equivalates a new form; a temporally hopeful prospect perhaps. Not in a fetishist sense of endless self regeneration, or a hoarding of cells in the style of primitive accumulation, but in a delicately hung equilibria of being and time;7

"Against a critical reading which would look at the ways in which art or literature queers the pitch of the normal, Deleuze offers a positive reading in which temporality in its pure state can be intuited and given form as queer, as a power to create relations, to make a difference, to a repeat power beyond its actual and already constituted forms."8

There is something 'wet' or soft-of-body surrounding the cell. In 'Liquid Crystals: The Science and Art of a Fluid Form' , Leslie Esther talks on the LCD digital screen's characteristically liquid form, offering it and the dimensions it transports us to as a uniquely different state of matter.9 Liquid crystal is a curious material phase that organises a substance’s molecules in a crystalline form that simultaneously allows them to move fluidly like water. In both volumes of 'Capitalism and Schizophrenia' Deleuze and Guattari write of the 'Body without Organs' (corps sans organes), based on the writing of Artaud and psychoanalysis, to talk of the body freed from it functions of homeostasis to find it's unregulated potential outside these organisational, molecularly firm, structures.10

In psychoanalysis Freud talks of a limitless, liquid state based of exchanges with Rolland titled 'Oceanic Feeling'. In 'Civilization and Its Discontents' he describes it as a return to the pre-Oedipal state before an infant can determine itself from it's mother; a status of wetly cellular infinity.11 For Freud the Oceanic is something threatening and unmappable; a terra incognita. However if mediated or guided through the oceanic state through the act of signification (naming, processing, putting action into) the oceanic holds a positive potential. As Wang puts it;

"Perhaps, rather than trying to purge, disavow, avoid, or control, the “traumatic excitation” of ocean feeling, it makes more sense to dwell in it, to silence the repulsive dread of maternal suffocation, to inhabit the feeling (getting filled-up and blissed-out) knowing full well that on the other side of the experience lies an opportunity to assimilate the gift (of direct knowledge of the space beyond and outside the ego) by processing and naming it [...] Perhaps it would be possible to alternate between these divergent affective spaces and use them to enrich each other."12

One can submerge or deep dive but with the realisation of coming back up for air. Wang argues that the oceanic state is creatively inspiring due to it's Lancanian inexpressibility.; this lack makes it desirable and evocative to symbolise (paradoxically, for psychoanalysts like Freud, it is this lack that makes the oceanic distinctly 'feminine' and regressive). 13 Perhaps then one could argue for an alluding to the state rather than a direct naming of it as an experience; something that guides rather than tells. 14

Spinoza talks of “existence belongs to the nature of substance”, a singular molecular substance that he refers as God or Nature. 15 In these terms one can think of the Oceanic as a feeling of ego-loss that allows one to commune with "substance" in a way that radically alters one's orientation. A more socially and politically enabling reading of the Oceanic than the psychoanalytic. There are of course distinctly religious undertones here but reframing religion in this instance as a form of pure faith or spiritualism offers readings of holistic practices as affective pathways into this state. A sort of queering or harnessing of the 'othering' that surrounds discourse of this state.

Is our experience of a discrete self bounded by ideas of ego, and is this self-hood cooperatively discrete through 0ur use of language; something that operates through mode of differentiation and naming? Is this also perhaps influenced by enlightenment, liberalism and psychoanalytic ideals of individualism which emphasises individual choice and agency?

"To dismiss oceanic feeling on the grounds that it is infantile tacitly locates “adult” subjectivity in the capacity to differentiate self from other rather than the capacity to conceptualize of the subject as connected: as part of an assemblage or node inscribed within a larger world or network. Framed this way, it becomes possible to see that the denigration of oceanic feeling by some psychoanalytic thinkers also reveals an attachment to a specific idea of the subject. In a sense, oceanic feeling as an affective state has the potential to open up the subject by temporarily dissolving its boundaries."16

As Wang notes this is a question that circles subjectivity and the sociological. Building off of Latour, Deleuze and Guattari etc popular theories of 'rhizomatic', networked webs of socio-relations that effectively dissolve the "I" into a whole. An embedding or ossification of the insular, a materialisation, into an interlinked form. A state at the edge of consciousness.

To conclude, the molecule has as an image, the power to evoke feelings of historic-totality, a state signified by Oceanic Feeling in psychoanalytic terms. This state can act as a state of creative and sociological renewal. Characterised by a feeling of singular particularity in the style of Spinoza, this state is somewhat frictionless or hard to define; this no-relation or lack central to it's Lacan-esc allure. The chemical and biological characteristics of the molecule make it symbolically both relevant to the Oceanic state and ideas surrounding expanded sociologically and definition of self as discussed by Deleuze and Guattari among others.

While looking into psychoanalytic theory surrounding the Oceanic, it seems there is a focus on the experience of this feeling as involuntary and induced through trauma or wound. Coming back to other research I have done on trauma, many scholars such as Judith Herman and Bessel Van der Kolk observe that survivors of traumatic experiences often describe a loss of self or selfhood; 17

“Survivors routinely describe themselves as outside the compact of ordinary human relations, as supernatural creatures or nonhuman life forms. They think of themselves as witches, vampires, whores, dogs, rats, or snakes. Some use the imagery of excrement or filth to describe their inner sense of self” 18

This connection between the oceanic as traumatic might support psychoanalytic readings of this infinite state as a manic, defensive and regressive territory, but this also does not mean that it can't also be seen as an affirming experience.

Although this framing of the molecular and it's associated states can be seen as pseudo-mystic, it should be noted that experiences that are often named as spiritual such as euphoria, chanting, meditation, fasting, psychedelics, sex, adrenaline, etc., could act as cultivator or guide into and through this state. Could the molecular form then be perfectly suggestive to this liminal tie of a bridge?

1 Jane Bennett, “A Vitalist Stopover on the Way to a New Materialism,” in New Materialisms: Ontology, Agency, Politics, eds. Diana Coole and Samantha Frost (Durham: Duke University Press, 2010), p. 59
2 Preciado, Beatriz (2013-09-23). "Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era", (Kindle Locations 340-341)
3 Laclan via/ trans. Alenka Zupančič , 'Sexual is Political?'(pg-86-100) in 'Jacques Lacan: Between Psychoanalysis and Politics' ed. Samo Tomšič, Andreja Zevnik, ( New York: Routledge, 2016)pg 89
4 ibid.
5 Karl Marx, "Grundrisse" (London: Penguin, 1993), pg. 206
6 Jordana Rosenberg, 'The Molecularization of Sexuality: On Some Primitivisms of the Present' p.8
7 "As with the stroke of an enchanter’s wand, it endows barren money with the power of breeding and thus turns it into capital, without the necessity of its exposing itself to the troubles and risks inseparable from its employment in industry or even in usury …" Marx, Capital, vol. 1, 919
8 "Understanding Deleuze," 22
9 Leslie, Esther, "Liquid Crystals: The Science and Art of a Fluid Form" (London: Reaktion Books, 2016)
10 Deleuze, G., Guattari, F., "Capitalism and Schizophrenia"
11 Freud, 'Civilisation and It's Discontents'
12 Jackie Wang, "Oceanic Feeling and Communist Affect," https://loneberry.tumblr.com/post/153995404787/oceanic-feeling-and-communist-affect
13 “…one instant’s contact with the Infinite is sufficient to make the Illusion of all ‘differentiated’ egos, our own and other men’s, disappear immediately.” Romain Rolland, The Life of Ramakrishna. Rolland disagrees with Freud's reading of the oceanic, perhaps in part, due to his Catholic faith.
14 I am alluding to guided meditation and Yoga Nidra in this instance. As well as an exemplifier for why mixed media, 'collaged' styles of image making might be successful within an Arts context of communicating or inducing this state in the viewer.
14 Spinoza, "Ethics", https://www.marxists.org/reference/subject/philosophy/works/ne/ethics.htm Think Kantian Sublime
16 Wang
17 Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, (London: Penguin Books, 2014)
18 Herman, Judith Lewis, Trauma and Recovery (New York: Basic Books,1997) pg. 105

WATER LILLIES (2007), Céline Sciamma
In French "Naissance des Pieuvres"- Birth of the Octopuses. Baby octopuses hold connotations of smallness, clinging to one another, in a tumble of limbs.The water is her realm, her emotions are revealed to us in its different forms and sounds. she falls down into the depths of it.
this page is multi-directional and organised non-hierarchically:
~ scroll left, right, up and down
~ zoom in and out using the button in the browser or hitting ctrl + or - respectfully
~ hit index to go back to the homepage
The Hippocampus structure is part of the limbic system of the brain, and embeded deep in the temporal role. It plays important roles in the consolidation of information from short-term and long-term memory, learning, emotional behaviour, and in spatial memory. It's name comes from it's shape being close to that of a seahorse or silkworm, its etymologic root the ancient greek word for 'seahorse'. The limbic system is considered part of the deep brain or 'primitive' brain, evolutionary considered one of the first parts of the brain to develop. For this reason many

Martha Rosler- Semiotics of the Kitchen (1975)

"I was concerned with something like the notion of 'language speaking the subject"
Yoga Nidra/ yogic sleep

I begun this year with a horrible experience. One which left me feeling very unstable and unwell for months after. Reestablishing my body as safe and as a trusted container to carry me forward became important; I had lost a lot of trust in myself. A treasured friend is a trauma informed yoga facilitator and invited me to her sessions as a free participant. I already had a somewhat-established yoga practice, having started it regimentally during lockdown. In the past my practice centred around vinyasa yoga, a more active, cardio centred practice, with occasional yin classes, where one finds the 'edge' of ones pain tolerance in deep, long-held stretches. Both of these were too intense in sensation for me in January and February however. My friend's sessions took the form of guided meditation, restorative yoga, and Yoga Nidra; a deep form of meditation which roughly translates as union in sleep hence it's other name yogic sleep;

"It's early morning, and you're waking from a dream. You can just as easily fall back into the dream images as wake up to answer the call of nature. [...] So you linger here, resting in this delightful state of equilibrium that exists between waking and sleeping"1

Deceptively simple, but impactful in practice, Yoga Nidra has been used as a part of a wider practice called Trauma Centre Trauma Sensitive Yoga (TCTSY) for survivors of complex trauma (c-ptsd). This practice was first developed by David Emerson, Jenn Turner, Bessel van der Kolk and survivors at the Centre for Trauma and Embodiment at the Justice Resource Institute and has been clinically proven to be beneficial for survivors. TCTSY is informed by an understanding of trauma theory, attachment theory, hatha yoga and neuroscience.


1 Miller, Richard, "Yoga Nidra: A meditative Practice for Deep Relaxation and Healing", (Boulder CO: Sounds True Inc., 2010) pg 15
2 Herman, Judith Lewis, Trauma and Recovery (New York: Basic Books,1997) 105
3 Schilder, P., “Depersonalisation,” in Introduction to a Psychoanalytic Psychiatry, no. 50 (New York: International Universities Press, 1996) p.120
4 Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, (London: Penguin Books, 2014)
5 Levine, P.A., Healing Trauma: A Pioneering Program for Restoring the Wisdom of Your Body (Berkeley: North Atlantic Books, 2008)
6 Misneach Yoga
7 Kant, Critique of Pure Reason, trans. Weigelt, Marcus, (London: Penguin Classics, 2007 (1781))
8 Gendlin, Eugene, Focusing (New York: Random House Digital, 1982); Van Der Kolk, Bessel, “Notes”, 27, in The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, p.381
9 Miller, Richard,"Yoga Nidra: A meditative Practice for Deep Relaxation and Healing", pg 19-20
"During waking consciousness, we perceive the world to be made up of solid and separate objects. We believe that our waking thoughts and the objects around us are real. But, could it be that waking-state thoughts and objects are also fabrication and projections of the mind" Miller, Richard, PhD, "Yoga Nidra: A meditative Practice for Deep Relaxation and Healing", (Boulder CO: Sounds True Inc., 2010) pg 18

"In these treatment approaches the story of what happened takes a backseat to exploring the physical sensations and discovering the location and shape of these imprints of past trauma on the body […] patients are helped to build up internal resources that foster safe access (sic) sensations and emotions that overwhelmed them at the time of the trauma.” Van Der Kolk, Bessel, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma, p 217-218

I am interested in exploring this idea of a meta-physical safe space that one could carry with them like a talisman or charm; or rather the experience of knowing one has experienced this plain and will experienced it again. One of the phrases my friend uses again and again during Yoga Nidra is;

"Your body; asleep. Your mind; asleep. But awareness; remains aware."6

Awareness is an interesting word; it is a sensation rather than empirical knowledge; a posteriori-esc say.7 In Yoga the word "drishti" is used or gaze. This can be used as a physical, visual tool a point on which you focus on as well as an 'internal gaze' during contemplative and meditative practice to encourage a withdrawal from the senses (pratyahara). A singular word or tool is epistemically flow between these two different states of a physical gaze and an immaterial one; in doing so it feels that these 2 knowledges are valued equally. Eugene Gendlin talks of "Felt Sense”; a sensuous experience of another object, feeling, event or concept;

'A felt sense is not a mental experience but a physical one. Physical. A bodily awareness of a situation or person or event.”8

For me Yoga Nidra exemplifies this validation of experience. We can feel a traumatic experience just as we know it, however this felt cognition is not often validated as a form of intelligence. Awareness is a sensuous experience even when in a deep meditative state "withdrawn from the senses". The mind and consciousness itself is tactile through tension and the "friction" between the memories one holds of events, experiences, thoughts and dreams one holds there;

"Yoga Nidra reveals that the inner fabric of each of us is deep equanimity or peace that is stable and steady, and when realised, is recognised to be ever present even in the midst of life's tumultuousness [...] Yoga Nidra helps you realise that your True Self, or true-I-ness, is an infinite and unqualified spacious Presence of Being in which everything, both waking and dream states, is born, unfolds, and dissolves."9


I am interested in exploring this idea of a meta-physical safe space that one could carry with them like a talisman or charm; or rather the experience of knowing one has experienced this plain and will experienced it again. One of the phrases my friend uses again and again during Yoga Nidra is;

"Your body; asleep. Your mind; asleep. But awareness; remains aware."6

Awareness is an interesting word; it is a sensation rather than empirical knowledge; a posteriori-esc say.7 In Yoga the word "drishti" is used or gaze. This can be used as a physical, visual tool a point on which you focus on as well as an 'internal gaze' during contemplative and meditative practice to encourage a withdrawal from the senses (pratyahara). A singular word or tool is epistemically flow between these two different states of a physical gaze and an immaterial one; in doing so it feels that these 2 knowledges are valued equally. Eugene Gendlin talks of "Felt Sense”; a sensuous experience of another object, feeling, event or concept;

'A felt sense is not a mental experience but a physical one. Physical. A bodily awareness of a situation or person or event.”8

For me Yoga Nidra exemplifies this validation of experience. We can feel a traumatic experience just as we know it, however this felt cognition is not often validated as a form of intelligence. Awareness is a sensuous experience even when in a deep meditative state "withdrawn from the senses". The mind and consciousness itself is tactile through tension and the "friction" between the memories one holds of events, experiences, thoughts and dreams one holds there;

"Yoga Nidra reveals that the inner fabric of each of us is deep equanimity or peace that is stable and steady, and when realised, is recognised to be ever present even in the midst of life's tumultuousness [...] Yoga Nidra helps you realise that your True Self, or true-I-ness, is an infinite and unqualified spacious Presence of Being in which everything, both waking and dream states, is born, unfolds, and dissolves."9