the moustache reason

Entering the cultural milieu, the affect of the interpellation, I allow it to function upon me

enter

Skydancers promise of surplus income

~The song says it all~

How can Skydancers promise of increase revenue and foot traffic be utilized to promote the well being of the Blue Hole? Can Skydancers be resurrected to remind us of unfulfillment, of the objet a. Is the Skydancer a totem, like vaporwave, regurgitating capital promises of the early 90s.

FDCS of FL case study Ichetucknee Springs Blue Hole

Future Dry Cave Systems of Florida Case Study

- Ichetucknee Springs Blue Hole –

*

prepared by:

Juan Griego

for the

Florida State Parks Service

-2014-

FDCS of FL Case Study:

Blue Hole - Ichetucknee Springs

This paper is a proposal and presentation of research for the Future Dry Cave Systems of Florida exhibition. The FDCS of FL is a fictitious re-branding of the Florida Springs and watersheds, created as a visual and informational campaign to foster a public awareness of Florida’s current water issues as well as the condition of the Florida springs and aquifer. The campaign focuses on the Ichetucknee Springs Blue Hole and uses contemporary public exhibition strategies to promote and display the information and research of a proposed future of a dry Blue Hole cave and a Florida dry cave system.  

The Blue Hole is a first magnitude spring, the largest of the Ichetucknee springs which empty out into the Ichetucknee River. The river expands to nourish a large ecosystem where it runs for about 4 miles until it meets with the Santa Fe River. The local name for the Blue Hole Spring is “the Jug” due to its interior shape and how it resembles a bottle. When looking down into it, one sees the exiting of 26,668 thousands of gallons of fresh water per minute, purified by the underground Karst limestone system that rests under the visible Florida landscape. To experience the Blue Hole, one must enter it and look into the underground cave system that rests parallel to the surface. A person must also understand where the water came from.

Water that shows up in the Blue Hole has traveled through miles of underground labyrinth-like Karst limestone that comprises the Florida aquifer. Sometimes the water from the Blue Hole has traveled only a few miles through man-made shortcuts such as wells and street runoff gutters, ditches and canals, or through sinkholes which may or may not have been caused by humans. In other occasions, the water’s entry points are in far off locations such as the watershed’s uppermost point about 14 miles north in Lake City. Paynes Prairie Sink also feeds the Ichetucknee, yet it is slow enough to allow for water to pool up and feed the prairie’s thriving ecosystem. The headwaters of the Ichetucknee, the main source of the Blue Hole’s water, is contained in Alligator Lake which is 14 miles north in the southern outskirts of Lake City, Florida. Anything that is put in Alligator Lake will make its way down to the Blue Hole, and if it misses the Blue Hole, it ends up in the Ichetucknee River somehow, through another corridor in the underground labyrinth. If the water has not made it into the aquifer yet, it flows towards the Blue Hole through the three tributary creeks or streams: Cannon Creek, Clayhole Creek and Rose Creek. These creeks contain sinkholes, leading the water, contaminated or not, into the underground system. Rose Sink, the main sinkhole leading to the underground river, is often times where cave divers enter to explore the aquifer. (Stevenson) When the FDCS of FL begins to take hold, the Rose Sink will be a main entry point of full accessibility for wheelchair and pedestrian traffic into the caves.    

We currently have a plentitude of fresh water to swim in, but I predict that with over-pumping, storm runoff and nitrate pollution, the Blue Hole may end up as dry as Kissengen Spring, but with one main difference: the open cave-like features of the Blue Hole’s shape may keep it from becoming the clay mound that Kissengen Spring is. According to Cynthia Barnett “Of Kissengen, all that remains are black-and-white photographs snapped by carefree locals with no idea they were documenting a grand finale.”(“Hope lives”) Upon reading Cynthia Barnett’s book: Mirage, I began to contemplate what we will do with our springs when they run dry?” The Jug, a swimmable water-filled cave which pours out into a beautiful pool full of valisneria, fish and turtles would be a humid limestone cave for hikers and spelunkers to explore on foot. “Kissengen Springs, a once- popular tourist attraction in Central Florida that bubbled up thirty cubic feet of groundwater each second, was the first major spring in the Sunshine State to completely dry up due to groundwater overpumping.”(Barnett 35) If what Barnett wrote in her book Mirage is true, all we need is to wait and not take any action in order to witness the drying of the Blue Hole and most every other spring. But how long will we have to wait?

Barnett states: “Kissengen was the first major spring in Florida dewatered by human activity. But it was not the last. In Hamilton County near the Georgia border, the town of White Springs was a spa and resort destination in the 1920s. Groundwater withdrawals dried out its stunning first-magnitude basin in the early '70s. Fenholloway Spring in Taylor County, bottled as "Fenholloway Sulphur Water" from the 1930s through 1954, also has turned to weeds. Another Taylor County spring called Hampton was home to the Hampton Spring Resort with 60 guest rooms. That spring rarely flows now. This is also the fate of Convict Spring in Lafayette County; Hornsby Spring in Alachua County; Royal Spring in Suwannee County. In Union County, the town of Worthington Springs was once known for a walled respite by the same name, where women gathered for special "ladies only" swims. Today, all that remains is a small, stagnant caldron of algae. Few ladies — or gentlemen — would venture near.” (“Hope lives”)

In further developing my idea, it occurred to me that in theory, future land use planning for the Blue Hole’s conversion could make it into a fully accessible dry spring for future generations of Floridians as well as visitors from around the world. “The Future Land Use Element usually represents the ‘blueprint’ for land development in the jurisdiction. The Future Land Use Element should include broad guidelines related to land use patterns and population densities that can be instrumental in implementing transit-supportive development projects.” (Accessing Transit 11) Presenting the results of my research as a public exhibit could in turn foster a desire in the public to preserve the spring that we have now. In presenting the Blue Hole as a dry cave, I would be able to exhibit data and current in depth information into the cave system through its deconstruction and conversion. I would also be able to exhibit documentation that could only be recovered by the hands of experienced underwater cave divers. I began to investigate the Blue Hole more thoroughly.

Recently, a large 15’ saw cut log was rolled into the Blue Hole by uninformed malicious visitors. I wondered how this log, now partially obstructing the cave’s entrance, could be used as a positive attraction when used in the dry cave. The log, a symbol of past human interactions with the Blue Hole as a submissive force, could be milled and machined into a railing system to be installed within the cave to facilitate pedestrian navigation of the system. The repurposing of the log would accompany the newly installed light emitting diode walkway lights which could in turn reduce the risk of danger within the dark cave. According to the Florida Planning and Development Lab, “Accessibility is a measure of the ability or ease of all people to travel among various origins and destinations, as well as the extent to which facilities are free of barriers and usable by mobile physically disabled people, including wheelchair users, also known as full accessibility.” (Accessing Transit A1) Thinking in terms of accessibility, the dry version of the Blue Hole may never be fully accessible.

Within the Blue Hole is a system of 3 caves: the first cave is only called the Entrance Cave, but is the most popular and accessible portion of the system. This cave is what the locals refer to as the Jug or more commonly known as the Blue Hole. Past the Jug is a wide and narrow limestone passage which leads into the Blue Room. The Blue Room is close to the size of the Entrance Cave but it has no vertical opening. The pathways leading into the Loft Room are even narrower and echo the force of the aquifer’s water pressure through semi- permanent ripples and waves formed in the silica sand covered floor below. Finally, there is the Loft Room. The Loft Room is very close if not larger in size than that of the Jug’s Entrance Cave. In this space, the seemingly endless current of the water flowing through the aquifer push against the exit wall of the room, creating a pressurized space that may in fact only be held together by the water itself. Water is what supports most of the Karst limestone cave system, and when the water disappears, the risk of sinkholes opening up and caves “caving in” become real. The spaces past the Loft Room become very narrow and reach a point of unexplored territory. So far about 260 meters of the Blue Hole cave have been documented by cave divers. The narrow passages between the rooms would be very difficult to pass through when dry and therefore future planning on the expansions of these pathways is crucial to the FDCS of FL project. Also, in investigating the Loft Room, we must theorize as to what may happen when pressure is relieved from the walls and ceiling of this cave. In order to maintain its structure in a dry cave setting, we will have to engineer structural support systems that replicate the force placed upon the Loft Room’s walls by the current, seemingly constant presence of fresh water exiting the cave.

Cave divers use special suits and buoyancy equipment to keep themselves in a constant state of equilibrium, and therefore do not need to touch the surface of the Karst system unless necessary. On the other hand, in a dry cave system, walls, floors and ceilings are at the constant mercy of the people who traverse them. Because of the naturally occurring uneven surfaces of the limestone rock, initial explorers as well as public planning teams will drill and hammer rings and hooks to attach guidelines in order assist with human balance while navigating the cave system as it dries. Paula Gunn Allen writes in The Woman I Love is A Planet, the Planet I Love is a Tree, that: “Our physicality which always and everywhere includes our spirituality, mentality, emotionality, social institutions and processes- is a microform of all physicality. Each of us reflects, in our own attitudes toward our body and the bodies of other planetary creatures and plants, our inner attitude toward the planet.” (Reweaving the World 52) It is a given that when the Blue Hole and its cave system becomes dry, our own attitudes towards the planet, its plants, animals and ourselves will become explicit.

A cave diver exploring the early 21^st century Blue Hole navigates it in slow motion, with an intense care for her or his surroundings. There is a sense of delicacy expressed in the diver’s movement so as to not change or upset the system around them. It seems as if the diver is in a dance with the water which surrounds him or her. The only unresolved human disturbance visibly present around a cave diver is the constant stream of air bubbles that exit a diver’s system and float up to cover the limestone like pooled mercury on marble. Other human disturbances outside of the diver’s reach are the high levels of nitrogen from farm fertilization run off that leaches into the aquifer as well as pollutants from cattle farming, the chemical treatment of water-resistant wood and many other toxic bi-products of human “progress.”

“In the United States, where milk and honey cost little enough, where private serenity is prized above all things by the wealthy, privileged, and well-washed, where tension, intensity, passion, and the concomitant loss of self-possession are detested, the idea that your attitudes and behaviors vis-à-vis your body are your politics and your spirituality may seem strange.”(Allen 53) With water and the human body being deeply interconnected, where over 90% of the human body is comprised of water itself, attitudes towards protecting water and our bodies seem strange to many in western society. It is in this strange-ness that the FDCS of FL project exists. Xavier Cortada likes to phrase it: “Art itself is about making something strange in order to bring attention to it.”(Presentation) I believe that this strangeness is not absolutely necessary, but what it does, in deconstructing the “strange” is challenge the assumptions of what is considered “normal.” The strange may not be strange at all; it is just its existence in a world constructed to function within a specified metaphysical formula. The strange that I wish to make explicit through this project is our illogic when looking into the human and "natural" future.

In the Helen Mayer and Newton Harrison’s large, over a decade long project titled The Lagoon Cycle, Newton Harrison took the role of the fictitious Lagoonmaker as he attempted to recreate an already functioning eco system for the sole purpose of supplying a large amount of delicious crab meat. He visited Sri Lanka, met with fishermen, had crabs shipped back to the states for him, learned about the cycles of the Sri Lankan lagoons and replicated the cycles in man-made tanks with filters and feeders, all at a high energy cost. Helen Mayer Harrison took on the role of the Witness, of the person looking from a short distance, being the consciousness of the Lagoonmaker. Over time through this large project, Witness and Lagoonmaker formed a great dialogue which expanded through the inevitability of an unsustainable micro system.

The unsustainability of things expanded in the Lagoon Cycle to conclude with a planet Earth that had risen in sea level due to the greenhouse effect of global warming through “efficient pollution.” “Sometimes I dream of the water buffalo in its wallow in Sri Lanka, the one that ran afoul of the gasoline engine and is being replaced by the tractor. Now that tractor does not replicate itself freely nor provide milk, nor utilize weeds as fuel nor produce fertilizer and fuel with its dung. Yet the tractor maker would say that the tractor is a bold invention; an improvisation that will change the state of farming. It is more efficient, it can cover more ground in a day. It is modern and cheap and helps bring people into the technological domain.”(Harrisons 94) The Harrisons are writing about an illogical cycle that is happening due to the machine maker creating a desire in the farmer to become part of a future society, yet the machine maker’s future society cannot be fully realized nor predicted with certainty. This future is in beta-test mode, and this mode does not weigh into its computations the irreversible effects of pollution on the planet’s eco systems. I believe that the western societal value of technology is extremely high when juxtaposed with the natural or wildness of the eco system. Whereas the buffalo in the Lagoon Cycle serves a great function and is efficient, so is our aquifer, trees, plant life and ground sediment filtration. The FDCS of FL project provides a form of the Harrison’s Lagoon Cycle by attempting to place all the technology necessary for its survival on display as developed research, ready to install and prone to failure.

The FDCS of FL project will contain a series of outdoor information panels identical to the panels installed in Ichetucknee Springs Park. These panels will inform visitors of the plans of a future dry park as a way to include and invite public opinion and suggestions into its development. Towards the entrance of the park there will be a semi permanent outdoor pavilion exhibition, complete with seating, interactive cave draining maquettes and dioramas predicting the near future construction and expansion of cave passageways and accessibility routes into the underground Karst system. A video located in the exhibition entrance will show the process of repurposing the Blue Hole sawed log into the beautiful railing that will extend deep into the cave, with authentic samples of the log for visitors to touch, to feel what it was like before it was turned into the underground rail. A take home souvenir of the FDCS of FL in the form of a dry Blue Jug keychain will be given to every visitor who has completed the tour of the project.

For the more athletic and adventurous visitor, a series of rock climbing walls with attached rings, spikes and rope will allow people to truly immerse themselves in navigating the future terrain and engage with it as would a future worker in his or her environment during the early stages of the FDCS of FL Blue Hole development. All rock climbing participants will be allowed to wear the official FDCS of FL spelunking helmets, cut resistant gloves and Near Field ComCave system. The Near Field ComCave system is a technology created for the future workers of the caves, installed by early 21^st century cave divers when the Blue Hole will still be wet. This system will inform the workers via led screen how far into the cave they have gone and how far they will have to travel until the last known ending. It will also provide live saving information on how to return to the surface and alert them to any dangerous obstructions in the way. The worker, just like the rock climbing visitor, will also be able to input information on a cave’s condition and progress. In order to fully engage with the exhibit, a series of trained volunteers will guide visitors through the various portions of the exhibit as well as take them to the Blue Hole: the test site where the first planned development of the dry caves will occur.

Visitors will follow tour guides to the Blue Hole where they will be given informational pamphlets with imagery of the dry cave in order to compare and contrast the two. The volunteer guides will document any visitor commentary, suggestions and recommendations in order to further the project into fruition.

Current projections into the initial cost of developing the first site are unclear due to the current abundance of freshwater still flowing down south through the watershed and out of the Blue Hole, making it difficult to draw out engineering plans on site. When comparing this project to some current above ground developments such as the tear down and construction of student housing east of the University of Florida, the minimum costs can be upwards of $500k. A positive aspect of building within a cave system is that most of the structure has already been made by the effects of slightly acidic water which has flowed through the limestone system since perhaps the Eocene era. This reduces construction costs quite significantly and in turn brings the focus back to the accessibility of the space itself.

For the Blue Hole, a staircase can be carved out of the limestone surface of the dry pool much like the design of the Devil’s Den sinkhole. If the staircase were made wide enough, it could also be adapted to house an electrified wheelchair ascent and descent mechanism. Progress and innovation through ideas such as these are what will make the FDCS of FL a reality.

Projected costs for the FDCS of FL project exhibit will be very low considering that the development of the exhibit is at no cost. The cost of materials and construction of display panels, printing of pamphlets and the installation of dioramas will be under $1500. The outdoor display panels, coated in ultraviolet protective resin, will be temporarily installed with no need of cement or the breaking of ground. The exhibition guides will be unpaid volunteers who are given free passes to the spring for future entrance at a later date. According to the park personnel, although the exhibit may be better suited for the park’s museum space, the main pavilion closest to the bathrooms in the Ichetucknee Springs Park North Entrance is free for public use and can be secured at sunset by the project volunteers upon the end of their shift. This space provides ample amounts of foot traffic from people coming to visit the springs as well as the people tubing down the river. A complete tour of the exhibit including a visit to the Blue Hole can be accomplished in roughly one hour, and the take home pamphlets and gifts will leave a more permanent imprint on the spring visitor.

I trust that an exhibit on the FDCS of FL will have several residual effects on the Ichetucknee Springs visitor. One key effect I wish for the visitor to take with them is a greater awareness of the Florida aquifer, its location and function. I wish for the viewer to allow themselves to feel delicate, by looking into the future tense of the Blue Hole as a dry spring. I understand that a future of a Florida with dry caves may be short sighted. If one were to analyze the real threats to the aquifer, it can be understood that salt water intrusion by fresh water over pumping and sea level rise is much more probable than only having dry caves, and this salted future could be interesting to explore as well. The sad reality is that the future human response to such a catastrophe may be positive, because if one were to study salt water within an aquifer, it can be concluded that the salt water will also drop in temperature to mimic the constant 71/2 degree year round temperature of the springs. Visitors will be more buoyant and less afraid to swim without a floatation device, and the introduction of marine life into a spring system could be a colorful and disturbing photo opportunity. It could be theorized that salt water will be clearer once it has flowed through the Karst system, and to the many tubers that float down the Ichetucknee River, they will not notice a difference. However, if the Blue Hole does dry out, so will the river and the other springs, rendering Ichetucknee Springs as the new Florida spelunking attraction for the world to interact with, and the river in turn will be great for 4x4 mudding.       

   

"All Ways Lead to Hialeah" Hydro-Illogical High Prairie Park

"All Ways Lead to Hialeah" Hydro-Illogical High Prairie Park

From the City of Hialeah’s website:

http://www.hialeahfl.gov/index.php?option=com_content&view=article&id=6&Itemid=385&lang=en

 “Hialeah, incorporated in 1925, has a long and proud history. One of the city's most important and nationally well-known historic sites is the Hialeah Park Racetrack, built in 1925.  Hialeah Park is an important part of Hialeah's future as well.  After a short period when the Park was closed to racing, Hialeah Park reopened in November 2009 with quarter horse racing and is currently undergoing a multi-staged full restoration.  Exciting plans call for the construction of an entertainment complex to include a hotel, restaurants, casinos, stores and a theater. Just as Hialeah's past is an important part of its future, so is a new, recently annexed three square mile area, "Hialeah Heights," to be developed soon into a beautiful residential and commercial area in the northwest part of the City.”

My Backyard canal

Hialeah is 20 to 30 ft from the Biscayne Aquifer

  

Hialeah’s population size as of 2013 surpassed 224,000 residents and is growing. It is also an inland Miami city that sits at a very low sea level, closer to the aquifer. As a result, Hialeah always floods during storms when large amounts of water attempt to quickly recharge the aquifer and naturally flood the prairie. The 2014 Hialeah or “High Prairie” is one covered in asphalt, cement and a never-ending series of deep canals carved across its 20 square miles. So far, Hialeah controls its flooding potential through the use of the most complicated part of the canal system in the South Florida region. When I encountered Payne's Prairie for the first time, I imagined how similar Hialeah must have been before the canals led to its development.

Hialeah as High Prairie 
(filmed on a quadcopter and GoPro)

"All ways lead to Hialeah" a slogan used during the city's early stages of development in the 1920's seems more applicable now to its connectivity to water. Hialeah is in danger of being the first inland South Florida city to experience never-ending floods and saltwater intrusion due to the rise in sea level . Water coming from the Everglades as well as through the Biscayne Aquifer will keep testing Hialeah's flood control system until it can no longer recover. Even with substantial evidence of Hialeah's death in the near future, the public and political attachment to nostalgia, jobs and their effect on the present pushes the city to pursue the re-opening and development of the Hialeah Park.

Hialeah interactive Sea Level rise

One of Hialeah Park’s high features is the Audobon wildlife refuge located in the center of the 1+ mile horse racetrack. This artificial refuge contains large numbers of “Hialeah Flamingos”, originally Cuban birds that were imported by park owner Joseph Widener in the 1930’s to serve as backdrop for the horse races. The flamingos are commanded through sound to perform “the Flight of the Flamingos” during the races, in which the large mass of birds fly around the perimeter of the racetrack's large man-made pond, which also floods. 

  Hialeah Park is Back?

The city along with the park's owner, private investors and the Seminole Tribe of Florida have moved forward with the park's redevelopment. With the predicted quick rise in sea level, redevelopment and restoration of the Hialeah Park is illogical and temporary. What will flooding be like in the renovated Hialeah Park, and how will the rise in sea level effect the "Hialeah Flamingo" habitat? 

oscillating strategies of war- pulse jet

Technology of Well-Being

Launch seeds into the air to germinate the ground below

The shift in power from war to research existed because of the instilled desire that American's possessed for human advancement, space travel and research in the sciences. Contemporary American society possesses a different kind of desire, that exists particularly due to American media's metaphysical shift towards a desire for objects of distraction. Contemporary Objet a's cause us to physically react, activating the drive; that which propels oneself forward. We interpret "up" as "forward", in constant motion in order to attain a certain goal, an idealized goal. The line blurs as the drive begins to wind down. This is due to the various moments where one thought the goal had been reached, but the desire was not satiated. The goal was passed as if by rocket, the data was recorded and interpellated. We move forward, UP. Actually, we don't realize it, but we begin from the ground again most of the time in states of negotiation.  

Let us develop the desire for Well-Being. Honolulu, Waikiki area, although at a higher cost of living, offers $11hr minimum wage. Also, prime real estate all over is allocated to public parks that are geared towards neighborhood enrichment. Supermarkets in Maui do not use plastic bags anymore. People are in a constantly developing metaphysics of well-being. Solar energy and wind power is harvested all over the islands. With all this said, the locals in Maui do love Wal-Mart. It is said that the islands receive music and products later than the mainland but I believe that what they receive later than the mainland is the activation of its gaze. Hmmm...

Electrate re-animation of defunct tools

I really should create a list of 21st century Electrate tools that re-animate existing technologies.

Ok, here is begins then. I will keep updating this list. Feel free to add via comments and I will include them to the list: 

3D Floor decals: (Lacan-Stain)

Aristotelian MFA

Aristotle : Metaphysics 2 pt2

"But evidently there is a first principle, and the causes of things are neither an infinite series nor infinitely various in kind. For neither can one thing proceed from another, as from matter, ad infinitum (e.g. flesh from earth, earth from air, air from fire, and so on without stopping), nor can the sources of movement form an endless series (man for instance being acted on by air, air by the sun, the sun by Strife, and so on without limit). Similarly the final causes cannot go on ad infinitum,-walking being for the sake of health, this for the sake of happiness, happiness for the sake of something else, and so one thing always for the sake of another. And the case of the essence is similar. For in the case of intermediates, which have a last term and a term prior to them, the prior must be the cause of the later terms. For if we had to say which of the three is the cause, we should say the first; surely not the last, for the final term is the cause of none; nor even the intermediate, for it is the cause only of one. (It makes no difference whether there is one intermediate or more, nor whether they are infinite or finite in number.) But of series which are infinite in this way, and of the infinite in general, all the parts down to that now present are alike intermediates; so that if there is no first there is no cause at all. 

1st year review: tethering ideas old and new
2nd year review: deep exploration of new territories
Thesis exhibit: body of new territory 

advancement and movement of SHI

Another instance of film capturing the vibrant nature of the dragon in development. 

Aristotle and experienced artists

Greg Ulmer's class on the Heuretics of Metaphysics was awesome. I do not particularly think of the semester as having ended though in regards to the process we went through. The limit in time within the constraints of a semester leave certain things out of a class. When not applying the institutional terminology of section or block which evoke imagery of chopping, of square cubes, of segments of a snake that get chopped and knocked off the block; I believe that this snake, if allowed to be walked through, would be able to take us through the creation of an Electrate Metaphysics, to a place of invention, to the Fifth Estate. Upon exiting the snake, we would notice that we had traveled a great distance as well.

I wondered why I would always look at the Advertising agency on Coral Way by Brickell as a gem, a realm of invention, but at the same time only saw it from afar as unattainable knowledge. It did not evoke a feeling of short circuit knowledge coming from a slew of workers pushing product, but felt more like Jullien's dragon's lair.

Aristotle states "Experience seems pretty much like science and art, but really, art & science come to men through experience, for experience made art as Polus say "But inexperience Luck".

Applying this to contemporary art, one can see how history repeats itself over and over.

Understanding both the propensity for history to repeat itself as well as the many formulas that aid in the creation of a single experience is key for agencies. The birth of mass desire through a creation of the objet a.

"Art arises when, from many notions gained by experience, one universal judgement about a class of objects is produced."1

This is where the brand comes in. This is where the product is placed. Forget about product, and insert your own, but really thinking about our well-being when you do. This is where the tobacco company is allowed to go as well. Since the company has been limited in its entry to certain social arenas, it becomes more like the dragon, oscillating, penetrating through in other ways that are almost invisible yet always present through popularity and repetition.

Purple Drank

New Ford Trucks
 

Why is it that many good products get shadowed by more useless objects of desire?

Do we have an aversion to well being (no) or has our current metaphysical state been severely manipulated to ensure a propensity for embracing the illness, because it does settle and comfort a person, the person prays through the illness, and all sorts of desires manifest? If anything, one gets reeled in through Candy Crush, Duck Dynasty, soft sofas, cottage paintings by thomas kinkade.

"The physician does not cure man, except in an incidental way, but Callias and Socrates or some other called by some individual name, who happens to be man."

"If then, a man has the theory without the experience, and recognizes the universal but does not know the individual included in this, he will often fail to cure; for it is the individual that has to be cured."

Monster

MONSTER

Family man, NASCAR, Fifth Estate

Do we know when we are being targeted? Also, when a product is made for us, how much of it is for the benefit of the consumer? the reseller? the larger corporation? According to this product re-seller video for the Wrangler Authority tire; I am a family man who watches NASCAR and likes recreational activities, is free spirited, etc....

 Ulmer, the Fifth Estate:

Taken from the source Walmart

The inner, the self and the first encounter = SHI spokesperson

This man was found in a body recovery effort after a ship had sunk 3 days before. After being exposed to the origins of Electracy and entered back into the interpellated self, you emerge more aware. 

I think he should be my spokesperson for SHI products

This would be the amount of SHI potential built into all of us

EXPERIMENT

The experiment displays the efficacious propensity of my investigations; a punctum displayed in meditative nature, the montage of the drive, the death drive, tracked and surveilled, chopped and slowed to find clues, to analyze.

After completing the Mystory, reading the books while taking notes and page number annotations, and noting any instances of epiphany/sting/punctum, I developed this work in order to study the Gaze, mimicry, process and access to the unconscious.

can be combined with this(wear headphones):

*DO NOT READ*

  

SHI thru timbales = film < ~lamella~

It's hard to see, but check out the cat on her shirt

I relate to the timbales very well, particularly due to the continuous rhythm and flow of the person in charge of activating the them. The person playing, the Timbalero, is like the brush wet with Sumi ink, marking the surface of the real that she is in, the gaze is upon her, she performs, mimics, adds her own in short instances.

6 minute point marks his fully developed libido

The film itself as a material, coiled up and restricted in its reel, comes to life as an endless stream of the unconscious into the real. The video above is a boy that gets interpellated on television, with a gaze imposed upon him that he is reflects through his adulthood. The boy is given the lamella that was on Tito Puentes. He utilizes it through the years on stage on the famous TV show: Sabado Gigante. 

Repetition and pattern

Kusama

How do marks follow each other, almost as if under a gravitational pull, a safety net, a way to conquer the subject by a strength in numbers?

SHOP KUSAMA

Pure optical situations reveal connections of a new type which are no longer sensory-motor and which bring the emancipated senses into direct relation with time and thought. This is the very special extension of the Pure Optical image: to make time and thought perceptible, to make them visible and of sound.p.65

Yayoi Kusama produces work that relies heavily on pattern and repetition. Her own issues with mental illness feed this repetition. She attributes the repetition to her problems at home when she was a child.
Remember Jullien stating that everyone has a mental illness.

In film, the still image is in vain, like the foreboding of a car breakdown, like watching out for death.p.63

 In slowing down this pattern, one can see that within such a long structure there sit thousands of individual frames, instances of death. I believe that Kusama, just like many scientists who have a high powered microscope, overlay the pattern of living organisms that cover everything.

There is an interesting play that occurs between a pattern's gaze and the subject's. It is difficult to focus on a complex pattern so the gaze upon a pattern such as Kusama's is one that is diffused upon contact. The gaze will run more complex algorithms in order to narrow the gaze.

Electrate Long Shot- corpse of the Dragon

When people think they've seen enough of something, but there's more, and no change of shot, then they react in a curiously vivid way.p.11

The Long Shot

Movement of frames in a film, when slowed down, reveal many instances of the decayed essence of the subject. Film becomes a series of photographs that

Film reanimates the coordinates of time, of representing movement as flows and patterns of time by expressing them as energy rather than as the effects of energy given in the transition from one frozen instant to another.p.96

The Vaporwave genre of music and video combinations, that was not mentioned in the Cinematics book, works very well within the poetics section of our process in this class. This video is called Saint Pepsi. The artist uses footage and samples of early 90's media. In slowing and chopping the sound and video as well as encouraging the analog glitch that arises through VHS playback on Cathode tubes,

$% the assumption of a future-virtual technology consumer corporate saving us all %$

is the rotten corpse of the dragon, re-animated and brought into the Fifth Estate to serve as a puppet that represents the Other (as we knew the Other). This video is like the last photograph ever taken of Bigfoot. He/She has been re-classified as the Other.

It is also like the sound of mice laughing. We can only hear them if we record the laughter and then process the audio to a lower frequency:
                                    
Vaporwave art-making is built in an Electrate Metaphysics, and forms critique through looking at its own history. The artist states via media "This is the Other, slowed down.-Here, look at this pattern (     ) Listen to the repetition of sound. What are the lyrics? Were any elements of this action invisible until you slowed down to feel how it is stained on you?

Now that we have seen the dragon corpse, let's set out to create a more beautiful one.

Libido-Miami

Someone told me recently that people move to Gainesville from Miami in order to think. I relate to this notion, and I do write on this in the relation of Newnan's Lake & my unconscious in another post. In Gainesville there exists a formula to remove the phallus in order to look at it, but it's kinda hard to find. It is also right in front of you. Read and take notes (with page number annotations). Don't run from anxiety, utilize it to keep a rhythm of oscillation.  

When I moved up to Gainesville (for my MFA)

The Libido(lamella) is the essential organ in understanding the nature of the drive. It's unreal, not imaginary. It articulates itself on the real in a way that eludes us.p.205

The objet a is that object which is actual experience, in the operation and process sustained by the transference, and is signaled to us by a special status.p.267

Entering the Blue Hole and coming back up again

Schaulust

The pleasure of seeing-sadomasochism

in the drive

Trieb

the manifestation of inertia in the organic life. 

Thrust

the tendency to discharge, produced by the transmission of the accepted portion

Real-Ich

supported by the nervous system, and has the character of a planned, objectified subject.

Libido

effective presence of desire which governs the very mode of our approach

_____________________________________________________________________

Drang as it is in its origin, the surface, the rim, the source, the Quelle, the erogenous zone in the drive

The unconscious is not an ambiguity of acts, future knowledge that is already known not to be known, but LACUNA, cut, rupture inscribed in a certain lack.

When you entrust someone on a mission, the aim is not what he brings back, but the itinerary he must take. p.179

In archery, the goal is not the but(goal) either, it's not the bird you shoot, it's having scored a hit and thereby attaining your but(goal)

(in french the word "but" thanslates into "goal")

p.179

(They got it! -they think/believe)

Sumi Sweeping

Calligraphy and SHI is like the wake of a boat and the outboard engine that cut it into existence. Jullien states that the SHI of calligraphy is like the internal skeleton of the calligraphic ideogram, which provides structural consistency. It is the potential. It is hard to believe how great calligraphy can be until you acquire the tools to begin manifesting SHI through its mark-making. I will help make this as easy as possible.. read page 79 on conceptual art and calligraphy and intent.One very important thing to remember is that:

"It must be assessed with SHI in mind if it is to be successful."

If SHI is a vital force of energy, like a powerful rush of water flowing down a mountain, imaging the brush's Sumi ink tip and its first encounter with the painting surface. The ink's sole purpose is to create a mark, a stain on the surface.

 Watch this:

~rim~

 Think of a desire, and find the space between desire and the object of attraction. This is the journey, the drive's course. Make the brush tip your power, and now go on the journey. Remember:

When SHI comes, don't stop it. When it departs, do not hinder it. 

This quote will now be forever linked to the brushtip, brush, hand, arm, body, self.

the Vanishing

"To let oneself be visible gives others a hold over one and puts them in control; the true manipulator becomes one with his position and vanishes from view."-Jullien

The best way to remain in power is to stay out of sight and avoid conflict. It seems that the eyes have a great ability to measure and equalize (envidia). Take for instance the story that artist Kim Abeles told me recently on her latest public art commision dealing with civil rights leader Martin Luther King. She was commissioned to create a work of art to be used as a permanent sculpture in Los Angeles, based on Martin Luther King. When one thinks of this great man, what is pictured is the story, the imagery on television, the camera positions mostly pointing up, giving him a larger than human presence.

Artist Kim Abeles found out through a random blog post that there is a woman holding a great collection of shoes and memorabilia of different figures of that movement. It is amazing to think that someone could be holding onto such a great collection of objects.. Imagine, a collection of shoes that were worn by people in the midst of marches, confrontation and struggle for the well-being of all people.

She was able to travel to meet the woman and her collection. Through the dig, she encountered among many objects of great importance, the pair of shoes that she may have been looking for all along: Martin Luther King's shoes.

Her public art piece would be that of a bronze cast of these shoes. When submitting the proposal, the people insisted that they wanted big shoes, larger than life shoes, the shoes that would fit on the feet of a huge statue of Dr. King. She insisted, her reasoning being that besides his great achievements and ability to empower others, he was also just a man, just like you and I. The notion of being equal to a person of King's status can initially reduce the potency of Dr. King's image, but upon more introspection, the power that is taken away from this illusion is given to the people as ability. This ability is the to be just as a great leader, speaker, animator. The ability is the SHI.

From Jullien's research on the prince, I have received instruction on how to use it to my advantage, how to detect the prince, and utilize his propensity to assist my own ventures.