line b
Well-known member
I liked the excerpts posted, but I need more direction from here. What do you have to say about all of it @suspended ?
Big Mood: Peli's theory of vibe
- Thread starter sus
- Start date
shakahislop
Well-known member
☆☆☆☆☆☆☆☆☆☆5 out of 5 stars.
· 8 months ago
· 8 months ago
I love it
The INA Wave 2 is mind blowing. I'm so glad I bought it. Whenever I use it I can't stop. I tell myself just a few minutes more, a few minutes more. Before I know it I've been playing with it for over an hour.
Clinamenic
Binary & Tweed
The closest thing I can say is our surrounding physical phenomena, which we can only perceive parts of
Clinamenic
Binary & Tweed
My best articulation of the territory is a vast matrix of matter and energy, which interact so as to form complex structures - but any articulation of the territory is still the map. Really I think the main purpose of the map/territory distinction is to dispel any notion of an absolute conceptualization of reality, which I suspect we simply aren’t equipped to produce. Instead I think we can relegate the intellect to worldly problem-solving and acquiesce the spirit to the rhythms of maya.
sus
Moderator
I will reply thoughtfully after the game
Clinamenic
Binary & Tweed
Call what regularity?
sus
Moderator
The territory. "What is it the map is pointing to/describing"
Murphy
cat malogen
Clinamenic
Binary & Tweed
Who is the toad in this scenario?
Clinamenic
Binary & Tweed
I'll be expecting your apology in DM format @WashYourHands
Clinamenic
Binary & Tweed
As for the reconciliation gift you owe me, just know that I'm fond of fine liqueurs.
Clinamenic
Binary & Tweed
Or perhaps you could hunt down a criterion edition of Shadows of Forgotten Ancestors. Been meaning to watch that.
version
Well-known member
Clinamenic
Binary & Tweed
I made a great spinal tap reference a couple weeks back, among colleagues, and nobody got it.
sus
Moderator
So I think there are two vital questions this book will attempt to answer
(A) Are feelings to be believed? What is the relationship between truth and feeling?
(B) Is there a way of knowing, and of transmitting knowledge, which poetry is capable of, which is not accessible via scientific or rational ("manifest") methods
These are linked insofar as poetry, Peli claims, is about building aesthetic coherence or unity. The question goes: Does this aesthetic coherence/unity—what we might call vibe, or mood, or feeling—tell us something about the world? Is it not just aesthetic, but also informational?
sus
Moderator
Another way of framing this text:
Postrationalist aesthetic theory—which Peli was never really socially part of, but which grew around Peli, and advanced many resonant/adjacent ideas—posits that art consists of "chords" and "maps." Perhaps more accurately, it posits that there are two poles of valuable functionality that art can embody—maps and chords.
A chord is something like that perfect interlocking fit, whose effect is quasi-emergent, of Heinz ketchup. It's "just right." It is the feeling of harmonic resolution at the end of a song or symphony. Aesthetic coherence and harmony, fitness in the Christopher Alexander sense.
The mapping that art performs, meanwhile, is about how well it models the world, whether it tells us something true. The Wire is an example par excellence of map-art. Key to postrationalist thinking around "maps" was Schmidhuber's concept of compression. There is way too much information out there in the world, and we have to predict/regulate it with limited cognitive capacity. So we need to come up with elegant patterns—like laws of physics, or type of guy starterpacks—that lossily represent a much larger real space.
Peli says: What if chords—what if aesthetic harmony and interlock—were also forms of maps? What if good maps end up beautiful merely by being good maps? What if beautiful chords ended up being good maps merely by being beautiful?
Postrationalist aesthetic theory—which Peli was never really socially part of, but which grew around Peli, and advanced many resonant/adjacent ideas—posits that art consists of "chords" and "maps." Perhaps more accurately, it posits that there are two poles of valuable functionality that art can embody—maps and chords.
A chord is something like that perfect interlocking fit, whose effect is quasi-emergent, of Heinz ketchup. It's "just right." It is the feeling of harmonic resolution at the end of a song or symphony. Aesthetic coherence and harmony, fitness in the Christopher Alexander sense.
The mapping that art performs, meanwhile, is about how well it models the world, whether it tells us something true. The Wire is an example par excellence of map-art. Key to postrationalist thinking around "maps" was Schmidhuber's concept of compression. There is way too much information out there in the world, and we have to predict/regulate it with limited cognitive capacity. So we need to come up with elegant patterns—like laws of physics, or type of guy starterpacks—that lossily represent a much larger real space.
Peli says: What if chords—what if aesthetic harmony and interlock—were also forms of maps? What if good maps end up beautiful merely by being good maps? What if beautiful chords ended up being good maps merely by being beautiful?