…And Stranger Loops :
Douglas Hoffstaedter of Goedel Escher Bach an Eternal Golden Braid created among his canonical references to self reference a “crab canon”which I believe references “The Crab Flower Club” of The Chinese Classic The Story of the Stone: theme of which is fiction becomes truth and truth becomes fiction and in the context of the latter author creating multiple authors within his text who compose poetry very unique to their” personalities”….Hoffstaedter similarly is interested in where the ‘I” comes from in the evolution from information strata in nature as the animate evolves from the inanimate.
Artificial intelligence for him is a mirror of this structuring, and he views Goedels incompleteness theory of self reference as always brought into a system in such a way that reference outside the system reflexively occurs… is a relation between world and mind in the conditions of sequence.
I suggest howeverthat if the world referenced in the wholeness of part, and wholeness of whole must examine its own question to find itself then that question is the semiotic state by which phenomenology is always a reading, and the question, or philosophic bracket ( as in deciding to examine the question in order to find the answer) is in all cases a perception, of which a world outside the perception cannot really be brought in, as one is always reading ones senses which are highly “created” in and of themselves as human nature. The task given each generation of reinventing “nature” has to do with recognizing the “I” as the part, and the question the whole, in the process of realizing the question, as its philosophic bracket.
The computer space then has an odd arrival within the tangles and loops of virtuality, is the computer the “new nature”…? It is odd because it is a reading, but becomes an object in a way broader than the normal experience of structural tools. Its object state is not physical although it can be traced to such platforms, rather it is an osmotic and zone like entry upon mediation as the condition of media which become explosively organic while giving a sense of direction formed on its own deflections.
I enter this question as a kind of Gorgion knot, and in my art reinvent the idea of the topology of a knot within the computer loops which I organize in relation to my own canonical structures of archaic Asian joinery forms I place in arcs and loops. My interest is in cutting the loop visually, while maintaining continuity, like the proverbial cinematic “cut” but turning away from photography as an assumed “reality’ function and returning to drawing as the core of movement now substituted beyond the previous mind and world paradigm to semiotic phenomenology as motion sensor drawing.