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dust_and_shadow:objects_and_cairns [2019-08-30 10:18]
maja
dust_and_shadow:objects_and_cairns [2019-09-10 08:31] (current)
maja
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 <blockquote>The tree which moves some to tears of joy is in the eyes of others only a green thing which stands in the way. Some see nature all ridicule and deformity, and by these, I shall not regulate my proportions; and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.    <blockquote>The tree which moves some to tears of joy is in the eyes of others only a green thing which stands in the way. Some see nature all ridicule and deformity, and by these, I shall not regulate my proportions; and some scarce see nature at all. But to the eyes of the man of imagination, nature is imagination itself.   
-William Blake</blockquote>+<cite>William Blake</cite></blockquote>
  
 {{>http://www.flickr.com/photos/foam/34976618376/ ?maxwidth=1000}}\\ {{>http://www.flickr.com/photos/foam/34976618376/ ?maxwidth=1000}}\\
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 <blockquote>Fetishism recognizes a silent voice of material things themselves (Pels 1998: 91 ). Things lure us, provoke us, direct us, charm, or hex us. The voice that is heard is only in this singular material thing, which we come upon by chance. Fetishism recognizes a realm of good and bad luck. We find ourselves in a partly or largely man-made environment whose structures, tasks, and paths were planned, and we design our actions and follow maps and signs. Yet even there, we encounter nourishing, energizing, and enchanting things and sinister and baleful things by chance. Strokes of good or bad luck, they lead us into byways and freeways from which we may not return to our planned objectives. <blockquote>Fetishism recognizes a silent voice of material things themselves (Pels 1998: 91 ). Things lure us, provoke us, direct us, charm, or hex us. The voice that is heard is only in this singular material thing, which we come upon by chance. Fetishism recognizes a realm of good and bad luck. We find ourselves in a partly or largely man-made environment whose structures, tasks, and paths were planned, and we design our actions and follow maps and signs. Yet even there, we encounter nourishing, energizing, and enchanting things and sinister and baleful things by chance. Strokes of good or bad luck, they lead us into byways and freeways from which we may not return to our planned objectives.
-Alphonso Lingis, The voice of things</blockquote>+<cite>Alphonso Lingis, The voice of things</cite></blockquote>
  
 **Preparation:** Bring sheets of paper (either loose or in a notebook), a pencil and pencil sharpener, and if possible some crayons, charcoal pencil, and/or pastel crayons.   **Preparation:** Bring sheets of paper (either loose or in a notebook), a pencil and pencil sharpener, and if possible some crayons, charcoal pencil, and/or pastel crayons.  
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 <blockquote>The key, the inner formula of the mango [date], a willow tree [a creosote bush], or a flat smooth stone, is never grasped; the real thing is before our perception as a task for an exploration. But the real thing is not the sum of all that we have recorded of it. It closes in upon itself, remains exterior always beyond all that our perceptual samplings have turned up of it, not a given but an external ordinance. A perceived thing is a pole which draws the convergent surfaces and organs of our bodies like a telos, a task.  <blockquote>The key, the inner formula of the mango [date], a willow tree [a creosote bush], or a flat smooth stone, is never grasped; the real thing is before our perception as a task for an exploration. But the real thing is not the sum of all that we have recorded of it. It closes in upon itself, remains exterior always beyond all that our perceptual samplings have turned up of it, not a given but an external ordinance. A perceived thing is a pole which draws the convergent surfaces and organs of our bodies like a telos, a task. 
-Alphonso Lingis, The Imperative</blockquote>+<cite>Alphonso Lingis, The Imperative</cite></blockquote>
  
  
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 <blockquote>We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity. <blockquote>We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity.
-Jun'ichirō Tanizaki. In Praise of Shadows+<cite>Jun'ichirō Tanizaki. In Praise of Shadows</cite>
 </blockquote> </blockquote>
  
 {{>http://www.flickr.com/photos/foam/34206276373/in/album-72157681429258454/ ?maxwidth=1000}} {{>http://www.flickr.com/photos/foam/34206276373/in/album-72157681429258454/ ?maxwidth=1000}}
  
 +----
  
 A simple cairn gives presence as it cuts through the open space of the horizon. It’s top most rock balanced carefully calls us to attention as we become aware of how its form occupies space. Its weight and balance hold it to its task throughout time and weather. The inhuman heat of the sun bears down upon it. Cold winds cut across it. The cairn remains standing out amid the surroundings. The cairn marks space. It makes us aware of the space and the rocks themselves.  A simple cairn gives presence as it cuts through the open space of the horizon. It’s top most rock balanced carefully calls us to attention as we become aware of how its form occupies space. Its weight and balance hold it to its task throughout time and weather. The inhuman heat of the sun bears down upon it. Cold winds cut across it. The cairn remains standing out amid the surroundings. The cairn marks space. It makes us aware of the space and the rocks themselves. 
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 <blockquote>Here’s how direct-air carbon capture works: Giant turbines pull in huge quantities of air, hoovering up molecules of carbon dioxide so we can store it somewhere that’s NOT the atmosphere. The Icelandic pilot program can remove an estimated 50 metric tons of CO2 from the air in a year. It pumps the collected gas deep into the island’s volcanic bedrock, where it reacts with basalt and essentially turns into limestone. Voilà! No massive reservoirs to manage for millennia — just a lot of rock. <blockquote>Here’s how direct-air carbon capture works: Giant turbines pull in huge quantities of air, hoovering up molecules of carbon dioxide so we can store it somewhere that’s NOT the atmosphere. The Icelandic pilot program can remove an estimated 50 metric tons of CO2 from the air in a year. It pumps the collected gas deep into the island’s volcanic bedrock, where it reacts with basalt and essentially turns into limestone. Voilà! No massive reservoirs to manage for millennia — just a lot of rock.
-Amelia Urry, The first negative emissions carbon capture plant is up and running</blockquote>+<cite>Amelia Urry, The first negative emissions carbon capture plant is up and running</cite></blockquote>
  
-{{>http://www.flickr.com/photos/foam/34885059841/  ?maxwidth=1000}}\\ +----
- +
-<blockquote>We have nothing in common with the Geometers. No shared experiences, no common culture. Until that changes, we can't communicate with them. Why not? Because language is nothing more than a stream of symbols that are perfectly meaningless until we associate them, in our minds, with meaning; a process of acculturation. Until we share experiences with the Geometers, and thereby begin to develop a shared culture in effect, to merge our culture with theirs we cannot communicate with them, and their efforts to communicate with us will continue to be just as incomprehensible as the gestures they've made so far: throwing the Warden of Heaven out the airlock, dropping a fresh murder victim into a cult site and rodding a volcano. +
--Neal Stephenson, Anathem</blockquote>+
  
 +{{ :dust_and_shadow:ds-reader1-18.jpg |}}
  
  
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-Dust and Shadow [[reader_1|Reader Vol. 1]]. Previous: [[objects and cairns]]. Next: [[designing bridges]].+Dust and Shadow [[reader_1|Reader Vol. 1]]. Previous: [[ways of listening]]. Next: [[designing bridges]].
  
 References: [[bibliography]] References: [[bibliography]]
  
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