""" I argued, like with the Necker cube, you can't do both at the same time. Jon questioned that ... implying disagreement. """
My disagreement is mostly with the suggestion that I either hold one phase of the Necker cube or the other, I am unsure how to express my perspective on *becoming other*. In the Necker cube case, I find it no harder to hold the image as flat as it exists on the page, denying the image its "cubeness" altogether. """ But that's not my point, here. I think this setup might help us understand gatekeeping like liberal vs woke. How much *easier* is it to put yourself in another's shoes if that other is within scope? """ To some extent, this is something I find interesting about a p-adic norm, and since we are painting in metaphor, that two numbers are measured in terms of a common *affinity* (a multiplicative abundance) of a particular prime. """ The conclusion that the deepest math structures are innate and the "finer" structures are acquired is interesting and suspect. Do we have source material for that? I didn't see any in the knots book. """ I have no idea if anyone has really worked on this in any scientific sense. Really, it is non-identically tangent to my curve. I have heard the tale of the blind geometer many times and while I have never known one, I generalize its lesson and found more anecdotal evidence to fit an enlarged class. Three data points come to mind: 1. A blind friend and artist in Cleveland named Marv Smith[♘]. 2. A ceramics instructor at Feats of Clay in Austin. 3. Mixing records before I could afford glasses. I am not sure what to say about the first case, it would be cool if I could transfer my experience to others, but I can not imagine how. In the second case, I asked the instructor about classes at the studio. As I listened (with my eyes as well as my ears) I became impressed at her *embodied* gesticulation, her ability to speak with her hands. At moments she would hold her hands in front of herself and motion with a concreteness that only one who has dedicated the hours to her art can deliver. I left with the feeling that ceramics would make me a stronger public speaker. In the last case, I logged a few hundred hours in-studio mixing tracks for small and no-named bands. My mixing console was an analog board pulling audio from an ADAT, i.e, not a digital editing station like Pro Tools or whatever with the tracks rendered as time series on a screen. I couldn't afford glasses at the time and soon I noticed that I didn't seem to depend on my eyes as much in daily life and more so I noticed depending on my ears. The experience for me was one of being situated differently, my eyes slack and my ears scanning. It was years later that I got glasses and the opposite seemed to happen, I became more engaged in what there was to see. To this day, it still makes me *cringe* when I watch someone edit audio visually, not that I don't think one can do it well with practice and guidance. Experiences like these (and a great many others) make me wonder about how one develops and tunes the seat of awareness. It doesn't really surprise me when I hear about blind skateboarders or when I think that another's investment in their different senses is likely to be weighted differently than my own. I assume novel insights are to be had by all. [♘] http://www.artistsarchives.org/event/upmarvin-smith-renaissance-man/
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