F  V @lmXNXmmv@mmz** Random selection: I generated a long series of random digits on the computer, copied it down, and then used the first two digits to select a shelf (taking them modulo 21, the number of shelves), the next two to select a book (counting left to right and beginning again if needed to fill out the number), the next three to select a page (taking them modulo the number of pages of text in the book). Then I copied down the first complete paragraph at the top of the page. It all sounds quite objective, granted the decisions (what room, what part of the page, and so on). But there were problems of interpretation even of these rules (the first item was a picture; the page had columns, and so on). In one case I couldn't read the figure I had written in the random sequence, in another what was to be the shelf number turned out to be two zeros. In all these cases adjustments had to be made; interpretations decreed.    A few paths have been threaded among the texts. They can be followed from the beginning links here. -discovery- This path follows the order in which the texts were chosen by the random process. -r1- -r2 - -r3- -r4- These paths were created by linking the texts as determined by random numbers. They do not all visit all the texts. In addition, the Storyspace map view allows you to browse freely without following any of these paths, and investigate other effects.   f  q       Reactions noted down as I am adding the texts: I am disappointed at the particular Dewey selection, but it goes well with the litany of animals in the Deleuze. Then a list turns up again, in the Portoghesi selection. This time a power list, with invocation of star systems and the whole apparatus of critical judgment. Just the sort of thing John Cage fought against. The beginning of the Cicero certainly seems applicable to this sort of writing, and so I try to read the latter parts, about returning to a difficult situation, as also about the situation of this writing or our situation today. Where are we returning from? Another list! This time the translators of the Nancy piece. And so much classical reference. The Kabat-Zinn: a feeling of embarassment that it should be chosen, and reluctance to put down the whole title. But a self-help book and a book on stress: what we return to. And another pair of lists. Now it's Berman with an appropriate summary paragraph; it's good to have it, but another list. The latest chosen texts (Anderson and Brehier) have anaphoric words in their first sentences ("this dilemma" etc.) referring to items outside the paragraphs. I debated putting in explanatory parentheses but decided against it, since I want these textual fragments to link to one another, and it could be interesting if in a reading the "this" connected to the text read before. Norris: is another piece that can be taken, at least in its early sentences, self-reflexively about this writing. The Crook and Reyburn bring more lists, and, in the Reyburn, the question what happens to things no longer informed by the will of the owner. Texts, for instance. Hegel finally showed up, but not in impossibly dense passages. He's against lists. This piece of writing is a list as well as a narrative. Can we avoid making lists into narratives? If the items are big enough, say the size of the paragraphs included as "the texts" here, I wonder. A later reading: time and directionality, property and time, transformation from user to performer, disruption of the banal, time and disruptive gestures, the directionality of the presencing, meaning that is not a subjective achievement, all this applied in/to the texts themselves and the act of reading.     .       If I am placed in a group of people for a time, I often find them filling a familiar set of roles that form a drama I tend to impose on my social world: self in certain (not necessarily consistent) roles, this or that other cast as mothering, authoritative, weak, and so on. It takes alertness to detect this pattern forming and not assume it is the natural characteristics of the people I am with, although these surely cooperate since not every role will fit every person. If we are placed among a group of texts, as here, we may find that we are reading into their content and relations a familiar set of roles that form a pattern we tend to impose on our intellectual world: self having certain (not necessarily consistent) views and intellectual gestures with texts, this or that text as conservative, daring, aligned along familiar polarities and plots. It takes alertness to disrupt this pattern. Perhaps the artificiality of this experiment can serve as a kind of intellectual Rorschach test; can you watch yourself imposing familiar organizations on the texts? I can, and it frightens me. This process is not the only production of meaning at work, nor is it purely a matter of projection. But this hypertext makes it more visible. If this is Rorschach test that discovers our hidden scripts; what is the appropriate therapy?    I originally planned this hypertext as an objective, uncontrolled, John Cage piece of random selections, in order to see how meaning would be generated in the hypertext during different readings. I had planned some commentary to be added at the end. But I am now putting the texts in, and already, with the second and third selections, my mind begins to provide links and horizons and interpretations. I should have realized, of course, that taking my own bookshelves as the place for the random selections would begin to tell me about myself. What was to be objective suddenly becomes oddly personal. So I now add some notes on the becoming of the series.   "Bachelard wrote a fine Jungian book when he elaborated the ramified series of Lautreamont, taking into account the speed coefficient of the metamorphoses and the degree of perfection of each term in relation to a pure aggressiveness as the principle of the series: the serpent's fang, the horn of the rhinoceros, the dog's tooth, the owl's beak; and higher up, the claw of the eagle or the vulture, the pincer of the crab, the legs of the louse, the suckers of the octopus. Throughout Jung's work a process of mimesis brings nature and culture together in its net, by means of analogies of proportion in which the series and their terms, and above all the animals occupying a middle position, assure cycles of conversion nature - culture - nature: archetypes as 'analogical representations.'" (Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, translated by Brian Massumi. (Minneapolis: University of Minnesota Press, 1987), p. 236) A  s  "It is sometimes contended, for example, that since experience is a late comer in the history of our solar system and planet, and since these occupy a trivial place in the wide areas of celestial space, experience is at most a slight and insignificant incident in nature. No one with an honest respect for scientific conclusions can deny that experience as an existence is something that occurs only under highly specialized conditions, such as are found in a highly organized creature which in turn requires a specialized environment. There is no evidence that experience occurs everywhere and everywhen. But candid regard for scientific inquiry also compels the recognition that when experience does occur, no matter at what limited portion of time and space, it enters into possession of some portion of nature and in such a manner as to render other of its precincts accessible." (John Dewey, Experience and Nature, (LaSalle: Open Court, 1929), p. 3.)     "As he deflects B's arm, A turns his body to the right and brings down B's arm with his right hand and B's neck with his left." (Koretoshi Maruyama, Aikido with Ki. Tokyo: Ki no Kenkyukai, 1984. P. 143)      "While your veil lay floating still around me And I clung to you as flowers cling And could feel your secret heart surround me And my trembling heart could hear it sing, While I still before your image hovered, Rich, like you, with longing and belief, And a world for all my love discovered, And could find a place for all my grief..." ("Da ich noch um deinen Schleier spielte Noch an dir wie eine Blthe hient, Noch dein Herz in jedem Laute fhlte, Der mein zrtlichbebend Herz umfieng, Da ich noch mit Glauben und mit Sehnen Reich, wie du, vor deinem Bilde stand, Eine Stelle noch fr meine Thrnen, Eine Welt fr meine Liebe fand;") ("To Nature," first stanza, from Some Poems of Friedrich Hlderlin, translated by Fredrich Prokosch, New York: New Directions, 1943)   "The rivalry between two complete acts that cannot occupy the same time or site is even stronger in the case of the flag paintings than in the map or world paintings. With the flag, the nonvisual act is dominant. In our ordinary experience of looking at the flag we do not ordinarily spend any time at all on its details. We regard it as a whole, and when we find ourselves in relation to it as our flag, we fall into our patriotic relation to it. That relation can either be chauvinistic or one of strong reaction against it out of a dislike of chauvinism. Being in the presence of a flag of one's own country is completely at odds with looking carefully at it, although patriotism also requires keeping one's eyes fixed on the flag." (Philip Fisher, "Making and Effacing Art," Critical Inquiry, vol 16, no 2, Winter 1990, p. 340)       $  "This does not mean that the choice of the architects invited to participate corresponds rigorously to a homogeneous design. The advisory committee of the section, comprised of Nino Dardi, Rosario Giuffre, Giuseppe Mazzariol, Udo Kultermann and Robert Stern, decided to involve critics like Vincent Scully, Christian Norberg-Schulz, Charles Jencks and Kenneth Frampton in the organization of the exhibition, in order to guarantee a range of different and at times diverging interpretations of th theme proposed by the director of the section. These interpretations can be compared to one another in the preparatory debate and clearly communicated to the visitors to the 'Presence of the Past' through special exhibitions." (Paolo Portoghesi, Postmodern: The Architecture of the Postindustrial Society, translated by Ellen Shapiro (New York: Rizzoli, 1983), p. 17)   $  "You see now what heavy seas we are in, and if between these lines such as they are you read other things which I leave unwritten rejoin us at long last. The conditions here to which I am asking you to return are such that anyone might wish to run away from them but I hope you value my affection enough to want to get back to that, even with all the accompanying disagreebles. As to being registered in your absence, I shall see that a notice is published and displayed everywhere. But registration at the very end of the census period is real businessman's style. So let us see you as soon as may be. Keep well. 20 January, Q. Metellus and L. Afranius being Consuls." (Cicero, letter to Atticus, 20 January 60 BCE, in Cicero's Letters to Atticus. Translated by D. R. Shackleton Bailey. New York: Penguin, 1968. p. 68)  H  L       "We review with our patients the guidelines from the national scientific and professional societies that concern themselves with the American diet. For example, the National Academy of Medicine recommends that people reduce their consumption of pickled foods, smoked foods, and prepared meats or avoid them altogether because of their likely relationship to certain cancers. In practical terms this means giving up or drastically reducing consumption of salami, bologna, corned beef, sausage, ham, bacon, and hot dogs. The American Heart Association recommends reducing red-meat consumption, drinking low-fat or skim milk, and eliminating whole milk and cream, cutting down on fatty cheeses, and restricting the intake of eggs, which contain about 300 milligrams of cholestrol per egg! (The Ornish diet contains about 2 milligrams of cholesterol per day)." (Jon Kabat-Zinn, Full Catastrophe Living: Using the Wisdom of Your Body and Mind to Face Stress, Pain, and Illness. New York: Bantam, 1990. P. 407) p    "It was also in this cultural environment that the notable German architects of the postwar years matured, as may be seen in the young Mies van der Rohe's first architectural essays, including the Perls and Werner houses in Berlin." (Stanford Anderson, "Architecture in a Cultural Field," in Wars of Classification: Architecture and Modernity. Princeton: Princeton Architectural Press, 1991. P. 13)  &  X  "The third moment in the conception of property is its surrender. A thing becomes my property when I put my will into it: it ceases to be mine when I take my will out of it. This relinquishment may be either an explicit and definite act, or an indefinite and lengthy process. In the latter case it is indicated by a continued failure to maintain possession and use of the thing, and the loss is incurred through prescription. The amount of time which must elapse before prescription can be recognized by law is, of course, arbitrary: but it should be sufficient to show that the will of the previous owner has really abandoned the thing. The principle itself, however, is not arbitrary. Property is an external existence of the will; it is, therefore, subject to time: and the will must maintain itself in time. 'Prescription is not merely forced into the system of right in order to exclude the strife and confusion which old claims would bring into the security of property. On the contrary, it is based on the actual existence of property, on the necessity which forces the will to express itself if it is to possess. (Philosophy of Right 64 ). Hegel applies the principle to the national monuments of former peoples, to the rights of the family of a writer to his works, and to vacant land set aside for purposes that have no meaning in prsent times. When the will of the original owner has lapsed from the thing, it is a res nullius, and may become the private property of others." (Hugh A. Reyburn, The Ethical Theory of Hegel: A Study of the Philosophy of Right. (Oxford: Clarendon Press, 1921), p. 135)  j        ,  "Perhaps, at the extreme--but everything is always decided at the extreme--we will one day have to face the fact (decouvrir) that the god is essentially distinguishable by nothing save the extreme strangeness of his coming. Euripides: Numerous are the forms of the divine, and numerous, the unexpected decision of the gods, What was expected does not come about, but for the unexpected, the god has found the means. (Jean-Luc Nancy, The Inoperative Community, translated by Peter Connor, Lisa Garbus, Michael Holland, and Simona Sawhney (Minneapolis: University of Minnesota Press, 1991), P. 125)     "For most of my life, since I learned that I was living in 'a modern building' and growing up as part of 'a modern family,' in the Bronx of thirty years ago, I have been fascinated by the meanings of modernity. I have tried here to open up some of these dimensions of meaning, to explore and chart the adventures and horrors, the ambiguities and ironies of modern life. In All That Is Solid Melts Into Air I move and develop through a number of ways of reading: of texts--Goethe's Faust, the Communist Manifesto, Dostoevsky's Notes from Underground, and many more; but also I try to read spatial and social environments--small towns, big construction sites, dams and power plants, Joseph Paxton's Crystal Palace, Haussmann's Parisian boulevards, St Petersburg prospects, Robert Moses' highways through New York; and, finally, reading fictional and actual people's lives, from Goethe's time through Marx's and Baudelaire's and into our own. I tried to show how all these people share, and all these books and environments express, certain distinctively modern concerns. They are moved at once by a will to change--to transform both themselves and their world--and by a terror of disorientation and disintegration, of life falling apart. They all know the thrill and the dread of a world in which 'all that is solid melts into air'." (Marshall Berman, "The Experience of Modernity," in Design after Modernism: Beyond the Object, edited by John Thackara (New York: Thames and Hudson, 1988), p. 35)  x           ( q    "As a matter of fact, the need to occupy oneself with pure thought presupposes that the human spirit must already have travelled a long road; it is, one may say, the need of the already satisfied need for the necessities to which it must have attained, the need of a condition free from needs, of abstraction from the material of intuition, imagination, and so on, of the concrete interests of desire, instinct, will, in which material the determinations of thought are veiled and hidden. In the silent regions of thought which has come to itself and communes only with itself, the interests which move the lives of races and individuals are hushed. " (G.W.F.Hegel, Science of Logic., translated by A. V. Miller (New York: Humanities Press, 1969), p. 34)      "Only two aspects of the general conviction that Reason has ruled in the world and in world history may be called to your attention. They will give us an immediate opportunity to examine our most difficult question and to point ahead to the main theme." (G.W.F.Hegel, Reason in History, translated by Robert S. Hartman (Indianapolis: Bobbs Merrill, 1953), p. 13)       "It is the aim of this study to explore, analyze, and critically evaluate Georg W. F. Hegel's philosophy of marriage and family. The particular goal of this paper is to demonstrate to what extent for Hegel the family is the origin, the realization, and the protector of man's subjective freedom or his free subjectivity. This question seems to be of utmost importance at the present stage of the world historical transition period from the old European civilization to a new post-modern culture, the beginning of which Hegel already predicted in the preface to his Phenomenology of the Spirit, and which continues today, and which is characgerized by a powerful trend toward the totally administered society and toward the end of the dignity and freedom of the individual." (Rudolf J. Siebert, "Hegel's Concept of Marriage and Family: The Origin of Subjective Freedom," in Hegel's Social and Political Thought, edited by Donald Phillip Verene. Englewood: Humanities Press, 1980. P. 177)  8  S m    "Rickman and Pugin make and equally telling comparison. Rickman had gone some way towards systematizing Gothic typology. But he progressed very little in the direction of structural authenticity or liturgical planning. His church at Carlisle (1828-30) suggests that he was hardly an archaeologist, and certainly not a liturgiologist. He was, after all, a Quaker. Pugin's chapel at Cotton College, Staffordshire (1840-8) would have been outside his aesthetic and theological parameters. Catholic ecclesiology has replaced the Protestant Picturesque. Rickman's church plans are basically Protestant auditoriums in medieval dress. Pugin's designs--St Giles, Cheadle, for instance--aim at re-creating the sacramental system in three-dimensional form. No wonder the Catholics of Birmingham rejected a Rickmanic chapel and settled for a Puginian cathedral (1839-56)." (J. Mordaunt Crook, The Dilemma of Style: Architectural Ideas from the Picturesque to the Post-Modern. Chicago: University of Chicago Press, 1987. P. 55)  }    "To make an object which is politically situated requires two transformations. On the one hand, the experiencing subject must be moved, moved without force or deceit from the status of user to that of performer. On the other hand, the building itself must be made such that the power hidden in the banal is released. This disruption of the ordinary will trigger the transformation of the subject from user to performer. S/he must encounter the difficulties created by a disturbance of the ordinary." (John Whiteman, Divisible by 2. (Cambridge: MIT Press, 1990), P. 17.)       "Feminism's lack of style is denounced by Nietzsche: 'Is it not the worst of taste when woman sets about becoming scientific in that fashion? Enlightenment in this field has hitherto been the affair and the endowment of men--we remained 'amongst ourselves' in this.'" (Jacques Derrida, Spurs/Eperons. Translated by Barbara Harlow. Chicago: University of Chicago Press, 1978. P. 65)     -   "This conflict is only a particular expression of the larger conflict which I have pointed out in the thought of Plotinus between the representation of the universe as a rational order and that of the universe as the theater of destiny. It is solved through a twofold elaboration; on the one hand, through a transformation of animistic physics in a direction favorable to his conception of human destiny; on the other hand, by an attempt to harmonize universal order and the individual destinies of souls. I shall first consider the nature of this animistic physics." (Emile Brehier, The Philosophy of Plotinus., translated by Joseph Thomas (Chicago: University of Chicago Press, 1958), p. 37) M  g  "Whether or not this distinction holds in the sphere of artistic production is an issue that the reader may judge for herself when comparing the various works reproduced in this volume. But I would suggest that any meaningful use of the phrase 'deconstructionist art' will involve at least some reference to the following characteristics. First, it will be seen how such work tends to juxtapose visual and textual elements, producing not so much a post-modernist collage of randomly associated styles and techniques as a critical, interrogative exchange between them. Second, this will have the effect of engaging the viewer/reader in an active decoding of the social constraints that are often concealed behind talk of aesthetic autonomy or form. (Thus Bernard Tschumi on his designs for the Park de la Villette: 'the analysis of concepts in the most rigorous and internalised manner, but also their analysis from without, to question what these concepts and their history hide, as repression or dissimulation.') And from this it follows, thirdly, that deconstruction maintains the kind of double-edged relation to modernist themes and techniques tht enables such analysis to be carried forward without losing its point through the sheer multiplicity of styles on offer." (Christopher Norris, "Deconstruction, Post-modernism and the Visual Arts," in What is Deconstruction? (New York: St. Martin's Press, 1988), p. 31.)  N  e  "If this is the case, it is clear that the 'phenomenological destruction of the history of ontology' promised in Being and Time, can be fully understood--and carried out--as a deconstruction only from the standpoint of Heidegger's last writings. Only then does it become apparent how time can be 'der Sinn des Seins': not the 'meaning' of being, but its directionality; the 'sense' as the direction in which something, e.g., motion, takes place (this acceptation of both the English 'sense' and the French sens--'sense' of a river, or of traffic--stems, not from Latin, but from an Indo-European verb that means to travel, to follow a path). Not the 'signification' of being for a man and hence 'a human accomplishment' (a misunderstanding that Heidegger says threatened the deconstruction in its first phase, that of a destruction in Being and Time ), but the directionality of the orderings by which constellations of presencing produce themselves. Not the sens unique, the one-way street of the epochs unfolding across the ages either (a misunderstanding that threatened during the phase of 'the history of being'), but the multiple presencing in which things present emerge from absence. These distinctions are what is most difficult in Heidegger. The point here is that the correct understanding of his early writings is obtained only if he is read backward, from end to beginning." (Reiner Schrmann, Heidegger on Being and Acting: From Principles (Bloomington: Indiana University Press), 1987, p. 13)  r   +  =    F  U           Caged Texts (c) David Kolb, 1993 This hypertext consists of twenty-one texts selected at random from the books in my study. Several paths have been run through the texts, but the texts can also be accessed as you choose through the Storyspace view map. The links on this page lead into the texts and the explanations; find them by pressing Option and Command together. The aim of the hypertext is to investigate the production of meaning through the juxtaposition of random texts chosen from a personal library (and so not entirely unrelated). 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