bioAesthetic Notes

If we are all part of a system that capitalizes on all that lives, we need to work from within to make differences that actually matter.

-Rosi Braidotti, Posthuman Knowledge, Lecture at Harvard, 2019

Can a living being remain identical while at the same time evolving? To answer that question, one must analyze what a living being is and what remaining identical is. Also does a living being possess in itself something establishing its identity? Is a living being entirely present throughout its temporal evolution? Or else, is a living being actually scattered in time? -Conversation between a biologist and a philosopher: self, transformation and religion (1)

How should we imagine the repetition and variation of countless iterations of cell division? How can we represent time within a 2D framework? And how do we draw cell division as a process within processes, intersecting and interconnecting? -Philosophy of Biology: Drawing and the dynamic nature of living systems

 

“Do not swear by the moon, for she changes constantly.” -Shakespeare

[Image: Full Moon Sticker By BBC America]

 

Double mutant flowers - “The concept of metamorphosis is not or only seldom used because metamorphosis is generally understood as a gradual change in form and gradual changes are not found among the mutant forms.” -Goethe‘s Metamorphosis of Plants and modern Plant Genetics

The self is only a threshold, a door, a becoming between two multiplicities.

-Deleuze

threshold: GATEDOOR; ENDBOUNDARY; the place or point of ENTERING or BEGINNING; the point at which a physiological or psychological EFFECT begins to be produced; a LEVEL, POINT, or VALUE above which something is TRUE or will take place and BELOW which it is not or will not


The photograph, then, becomes a representation of a representation of a disease that represents. In other words, in order to produce the most perfect images of hysteria, the hysteric – a woman whose illness simulates the symptoms of other diseases –…

The photograph, then, becomes a representation of a representation of a disease that represents. In other words, in order to produce the most perfect images of hysteria, the hysteric – a woman whose illness simulates the symptoms of other diseases – was transformed, through hypnosis, into an artificial hysteric who perfectly simulated the simulations of hysteria. The medical photograph becomes a copy of a copy of a copy, a representation so far removed from the original that all duplicitous traits, were easily erased, leaving the deranged and chaotic nature of the original far behind. The photograph succeeded in turning the hysteric into a wholly artificial being, literally a flat, framed, unmoving image. - Asti Hustvedt, The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France

We humans think we are smart, but an orchid, for example, knows how to produce noble, symmetrical flowers, and a snail knows how to make a beautiful, well-proportioned shell. Compared with their knowledge, ours is not worth much at all. We should bow deeply before the orchid and the snail and join our palms reverently before the monarch butterfly and the magnolia tree. The feeling of respect for all species will help us recognize the noblest nature in ourselves. -Nhat Hanh


“If great talents use movement, great art will move.”

-George W. Rickey, Morphology of Movement

{…} both art and other media, indeed all who work with any form of representation, have a special responsibility to make visible all those living beings and life sustaining entities that are otherwise invisible to the human eye. -Hanna Johansson, The Moment of Reckoning


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“Life is transmitted only by making love.”

-Louis Cattiaux

The work of art is therefore a magical creation and, like procreation, it requires, in order to give rise to Being, a psychic charge produced by the spasm of love. -Louis Cattiaux


“We cannot name and identify that which we cannot desire."

-Gayatri Spivak


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What is in the present is what the image. 'represents', but not the image itself, which, in cinema as in painting, is never to be confused with what it represents. The image itself is the system of the relationships between its elements, that is, a set of relationships of time from which the variable present only flows. […] What is specific to the image, as soon as it is creative, is to make perceptible, to make visible, relationships of time which cannot be seen in the represented object and do not allow themselves to be reduced to the present. […] . It is, for example, a coexistence of distinct durations, or of levels of duration; a single event can belong to several levels: the sheets of past coexist in a non-chronological order. -Deleuze, Cinema 2, xii