[-empyre-] chora, mistake, gel point, deviance, semiotic, world 3, pataphysic, ludic, clinamen, natural, public

Christina McPhee christina at christinamcphee.net
Sun Mar 30 05:02:01 EST 2008

dear =empyre-,

as Mez ironically notes,

> [read: off_topic/incoherency/non_linear = purrfect gel point 4
> projection, insight + innovation].
> <znip>

Mistakes produce meaning!  domain error! (to quote subrosa) is the  
space of the public, sort of a performance-thing n'est=ce pas .....  
(Just archiving this snippet with these keywords, as sneaky empyrean  
editor. )

> ---Margarete said:
> In order to vivisect 2nd Life critically, it must be considered not as
> game – but as a hypothetical game system. Its focus is a playful 3rd
> life, according to Jorge Luis Borges´s "Orbis Tertius" and Sir Karl
> Popper´s "World 3". Games played in SL serve as examples for deviant
> gaming behaviour on the borderline.
> ---
> I could not agree more. It was the Ludic Society writing on Jarry that
> made me see that natural link to the clinamen phenomena; errors
> producing meaning, happy accidents forming knowledges, mistakes
> forming games. I do not know how to land my avatar, therefore I will
> make a game out of flying between buildings. I think so many people
> got obsessed with capital A art this element got forgotten. Christian
> Bok's book on 'pataphysics takes up the clinamen as an energetic
> source, and its immanent power is that it totally deserts whatever
> meaning people had for a place, thing, or world. Deviance is energy!
> Christina, this is quite similar to your note of  "public space of
> risk and ambiguity at its edge or threshold, as it were, its
> passage=moment."
> The chora: Elizabeth Grosz's chora in that book is a very potent
> rearticulation of Plato, turning what was the residue of chaos into
> the fundament of social change. "For Plato, chora is that which,
> lacking any substance or identity of its own, falls in between the
> ideal and the material." (Grosz) - which also reflect's Plato's need
> to articulate an explanation of progression and procession, so its a
> very heuristic, whole reading - chora is both 'receptacle' and
> 'nurse'. The chora is a zone ... "which exists always and cannot be
> destroyed. It provides a fixed site for all things that come to be. It
> is itself apprhended by a kind of bastard reasoning that does not
> involve sense perception, and it is hardly even an object of
> convinction. We look at it as in a dream when we say that everything
> that exists must of necessity be somewhere, in some place and
> occupying some space." (Plato, Timaeus, 52)
> But I think Julia Kristeva's 'semiotic chora' is not totally worthless
> for the discussion as well. The word for her is totally re purposed
> and stripped of its passivity and installed with its own ability to
> generate meaning. It is also a chiasmic, miasmic and sometimes quite
> violent state of affairs; the zone between language and recognition,
> the fog of war chased away by the arrival of understanding and the
> thetic break. Who has ever used SL and not felt a twinge of that
> miasma creeping in, that fog obscuring buildings in the clipping
> distance? That little bit of glossolalia, the almost autistic overuse
> of gesture.
> So this is a long way of saying I think there are bridges between all
> the concepts that link up, architecture and nature to the spaces of
> communication to the game, to the burning tyres. Sometimes despite
> itself, when you make material links you end up with larger not
> smaller fields of play. The world is crisscrossed after all with chalk
> lines and circles..
Christina McPhee

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