the cultural burden of giving sense to data through kairotic or narrative structures is not easy to overcome
historical discourse privileges the notion of continuity in order to re-affirm the possibility of subject/object ontology
the history of machinic vision is characterized as a negative history of the decoding/recoding of perception, a reading founded on teleology and narrative closure
1. it occludes machinic vision as a line of flight
and suggests a deregulation and deconstruction of place and perception (1st world war ) and the dissolution of the ability to form memory-images
2. the concatenation and the (con)fusion of the eye and lens preferring the accidental over the substantial, the accidental not providing legitimizing contexts or narratives and the pathological banalization of vision through the telematic
3. the re-ordering of the disorder of the techno-visual (the deregulation of the visual) through the reinforcement of phatic imagery
4. that human perception is rendered irrelevant by the cultural condition of the visual machine (the digital panoply and its supporting technofetishism)
the negative thesis is committed to adherence to the notion of the unified body and its condition of possibility through ego (the subject-object order), that technology is a prosthetic that intrudes on the body making it more susceptible to manipulation and that the body is disorganized by technology (see L'Homme Machine )
in terms of machinic vision the negative thesis (eg. Virilio) is predicated on a central fixed perceiving subject, as opposed to a distribution of points of view that there are machines perceiving initiates a decoding of perception and into the perceptual unknown, into an assemblage of the visual (human / machine) in a state of universal variation in which privileged instances of perception are always subsumed in a mobile (motile) constellation of relationships with other images, and images acting/reacting with each other
re: wolfgang ernst http://www2.khm.de/personen/staff/ernst/va_x.htm 1 , http://amsterdam.nettime.org/Lists-Archives/nettime-l-0302/msg00132.html 2 : that images are statistical the advent of the digital image is freed from its material support and mobilizes it through networks and recoded as mathematical information (bits, code) that allows it (the bit-real) to be recomposed infinitely and to flow indefineably as data
(virtual reality is the antithesis to this model as it reinforces the body as the site of technological induced hallucination.)
models of perception: eyesight is a series of light and nerve impulses decoded at 20 milliseconds per image by brains object boundaries spatial depth etc are (over) coded and before the image reaches the brain its already subject to millions of calculations in the retina, optic nerve,visual cortex and visual centres of the brain -as a massively parallel processing (ie not calculable by von. Neumann architectures) in machinic vision the multiplicity of images circulating, articulated by the incessant coding and recoding of information, and the encoding and decoding of frequencies is precisely what a hologram does best just as a hologram functions as a sort of lens, a translating device able to convert an apparently meaningless blur of frequencies into a coherent image, some physicists and neurophysiologists http://twm.co.nz/hologram.html believe that the brain also comprises of lenses and uses holographic principles to mathematically convert the frequencies it receives through the senses into the inner world of our perceptions
an assemblage of a distributed system based on the calculation and transformation of data/code
http://www.isss.org/lumPask.html Gordon Pask in the 50's created self organizing electrochemical assemblages with emergent sensory capacities, transforming their relational states with their environments (to sound and magnetism), and are freed epistemeologically from the Cartesian trans computational designer question because they are informationally open. he went on to develop a conceptual framework for machine learning system called DoWhatDo? - also ( http://www.cosmodrome.com/portfolio/palm.php see projects by http://cadre.sjsu.edu/ Cadre ) - a method by which knowledge emerges from "conversational interaction involving differing expertise by using a relatively simple set of action/reaction algorithms that enable conversant associations through relational filtering and substitution processes - generating multiple layers of knowledge distinct from the original expertise of participants"
social space - the social space of the assemblages (a new collectivised form of pyshic apparatus?) the viewing or absorption = general form of mechanic vision, through many parallel and machinic processes - the image becomes conceived of in a different way - not as representative, rather as an action or reaction in a multi-agent (human machine) systemic.
re: flows of data without supporting discourses - ie without the means of bracketting the experience with the distance of critique - the predetermined behaviour of subjecthood is no longer viable ( a phenomenological kantian behaviour) and the brain eye deterritoralized, decomposed into distributed function assumed by machines (the Virilian nightmare)