25 de Outubro de 2017

Recently I was speaking to a writer about my recent work. She’s doing a feature for a local magazine on creativity research and design practice in the region. I’ve been fortunate to get a lot of press over the years, and it’s become increasingly important to me to find ways to make my work comprehensible and applicable to a general audience.

Bryant (2014) expande as fronteiras do entendimento das máquinas em direção a uma ontologia orientada às mesmas. Todas as entidades existentes possivelmente são máquinas, pois operam dinamicamente inputs produzindo outputs. Essa teoria se configura também como uma cartografia das relações entre as máquinas e como sua reunião organiza movimentos, o desenvolvimento e o nascimento de novas máquinas no mundo. A sua ontologia o autor denomina Onto-cartografia, ou “mapeamento da coisa”.

Levinas' analysis of the face in T&I drafts several elements for deconstruction. It is in a great extent about the voice, about seeing language in its formal element as structurally dialogical and its prime function as that of enabling discourse aimed towards a public - and not description or coping with the world. The structure of language - and indeed of voice - makes explicit the asymmetry between the other, as a master, and the speaker. As a speaker, I'm in the hands of the other because language is a public device formally structured by diaphonia, by different discourses and that difference is embedded in the very structure of thematizing anything, in the very structure of the conceptual. As a consequence, it is not that I have a grip on my concepts and not even that they have a grip on me but rather that the others have a grip on me through my conceptual life. Concepts make me think, but they do so only because they make my masters present. Without a public language, as Sellars once put, there would be nothing to talk about. Levinas adds that a public language is precisely the formal structure of the presence of the others - it is made by the traces of their intervention.

Sol blanco del desierto es una de las películas rusas más célebres de todos los tiempos. La mezcla de acción, comedia, música y drama la hicieron muy famosa en su época y adquirió estatus elevado en la cultura soviética y rusa desde entonces. Los cosmonautas la ven ritualmente antes de muchos lanzamientos espaciales1​ La obra aportó numerosas expresiones al idioma ruso (vid. infra). La canción principal, "Su Excelencia, la señora Fortuna" con la letra de Bulat Okudzhava se convirtió en un gran éxito.