The title of Sontag’s “Against Interpretation” is misleading, and regularly confuses readers who believe her “erotics of art” precludes interpretive dot-connecting and inference. This is not the case: the piece is more accurately titled “Against Allegorization,” or “Against Ideological Readings” — those hermeneutic approaches that set out to find “encoded” and symbolic meanings in a work of literature according to the reader’s personal schema. Continue reading “Sontag v. Top-down Frames”
The art historian Jack Flam (2014) refers to this aspect of abstraction as “a new claim on truth.” By dismantling perspective, abstract art requires our brain to come up with a new logic of bottom-up processing. The work of Mondrian relies heavily on the brain’s early steps in processing objects, steps that depend on line segments and axis of orientation, and on the brain’s processing of color. But these bottom-up processes are likely to be modified or overridden altogether by extensive, creative top-down processing.
— from Reductionism in Art and Brain Science, Bob Grant
The New Yorker finally got around to predictive processing with Larissa MacFarquhar’s profile of Andy Clark. Clark is the author of Surfing Uncertainty, the premier book on the subject.
Perception did not, then, simply work from the bottom up; it worked first from the top down. What you saw was not just a signal from the eye, say, but a combination of that signal and the brain’s own ideas about what it expected to see… Continue reading “The Mind-Expanding Ideas of Andy Clark”
by Suspended Reason w/ James Wood
In Antonioni’s film L’eclisse, the luminous Monica Vitti visits the Rome stock exchange, where her fiance, played by Alain Delon, works. Delon points out a fat man who has just lost 50 million lire. Intrigued, she follows the man. He orders a drink at a bar, barely touches it, then goes to a cafe, where he orders an acqua minerale, which he again barely touches. He is writing something on a piece of paper, and leaves it on the table. We imagine that it must be a set of furious, melancholy figures. Vitti approaches the table, and sees that it is a drawing of a flower. Continue reading “On the Erotics of Interpretation”
James Nulick’s Valencia opens with an HIV diagnosis. Nulick, protagonist, is dying. He has traveled to the southern coast of Spain to stay at the hotel which gives the novel its name. He has traveled there to hasten his death, to preempt the prolonged and painful corporal vulnerability which immunodeficiency entails. Continue reading “Valencia/Rectify/Film/Television/Literature”
Gabriel Duquette of Liposuction has raised a number of objections to my insertion of effect-ideas into his maps/chords dualism. Either effect-ideas are not real, he argues, or they are not significant. They are trivial in that they are wildly personal, unpredictable, and unengineerable. Read rather than written into texts, they are the creations of readers and audiences instead of artists and authors. It is akin to ruminating on a rock for hours at end, and then pretending the rock had instigated the conversation. Continue reading “Effect Ideas and Close Encounters”
Mr. Leopold Bloom ate with relish the inner organs of beasts and fowls.
So begins the fourth chapter of Ulysses. “Calypso” is one of the more straightforward episodes of the novel, but here we’ll look at the way the opening line maintains its own ambiguity throughout the chapter’s opening pages. The suspended ambiguity is initiated in the grammatical indeterminacy of “ate,” which functions either as preterit (simple past) or as unmarked imperfect, suggesting, respectively, either that Bloom has just eaten a meal consisting of animal organs, or that Bloom regularly eats animal organs (completed action vs. general habit or practice). Continue reading “Predicting Joyce’s “Calypso””