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@ -9,7 +9,7 @@ If, then, we call the time involved in reading written lines “historical time,
#stone #image
**However, the stone we have offered as an example is not really typical of our present situation. We can walk right up to a stone, but we can do nothing of the sort with most of the things that determine us at present— either the things that occur in explanations or the things that occurin images. The genetic information or the Vietnam War, or alpha particles, or Miss Bardot’s breasts are all examples. We may have no immediate experience of any of these kinds of things, but we are nonetheless determined by them. **
#fiction
#fiction #intro #facts
We must therefore ask how the various symbols of the world of fiction relate to their meanings. This shifts our problem to the structure of the media. If we take advantage of what was said in the first paragraph, we may answer the question as follows: Written lines relate their symbols to their meanings point by point (they “conceive” the facts they mean), while surfaces relate their symbols to their meanings by two-dimensional contexts (they “imagine” the facts they mean — if they truly mean facts and are not empty symbols). Thus, our situation provides us with two sorts of fiction: the conceptual and the imaginal; their relation to fact depends on the structure of the medium.
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@ -29,7 +29,7 @@ This gives us the following difference between reading written lines and picture
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#temporality
On theother hand, would it not be more sensible to say that the times involved in the two processes are different, and that their measurement in minutes fails to reveal this difference? If we accept this last statement, we may say that the reading of pictures takes less time because the moment in which their messages are received is denser; it is more compacted. It also opens up more quickly. If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going
On the other hand, would it not be more sensible to say that the times involved in the two processes are different, and that their measurement in minutes fails to reveal this difference? If we accept this last statement, we may say that the reading of pictures takes less time because the moment in which their messages are received is denser; it is more compacted. It also opens up more quickly. If, then, we call the time involved in reading written lines “historical time,” we ought to call the time involved in reading pictures by a different name, because “history” has the sense of going
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#visionaries #peoplewhohearvoices
@ -107,11 +107,14 @@ Walter Benjamin, The Arcades Project, 476.
### Conscience chapter 5
#### Magician to Atom
??
?? #fillin
#### snakes
#offtopic
Snakes and dream serpents provide an example of how agents ofnature can be translated into the symbols of culture. For hundreds of thousands of years, time enough for genetic changes in the brain to program the algorithms of prepared learning, poisonous snakes have been a significant source of injury and death to human beings. The re-sponse to the threat is not simply to avoid it, in the way that certain berries are recognized as poisonous through painful trial and error, but to feel the kind of apprehension and morbid fascination displayed in the presence of snakes by the nonhuman primates. The snake image also attracts many extraneous details that are purely learned, and as a result the intense emotion it evokes enriches cultures around theworld. The tendency of the serpent to appear suddenly in trances and dreams, its sinuous form, and its power and mystery are logical ingredi-ents of myth and religion.
## WS Burroughs
> Cut word lines Cut music lines Smash the control images Smash the control machine Burn the books Kill the priests Kill! Kill! Kill!
> - William S. Burroughs - The Soft Machine (1961)
> - William S. Burroughs - The Soft Machine (1961)
## Dziga Vertov