this is interesting alan. my sense is that the rough frayed topology, and really its gridding, of the head covering is a kind of analogy for mappings; libidinal, aesthetic, sensory, personal, linguistic, etc. also in the sense of a weaving, mappings as weavings or vast constructionist integrals in a calculus of embodiment, and the sense that the rough edges, the "severed' or 'cross-sectional' (sampled?) topology, as it were, is a reflection of coding practices, or the praxis of instantiation by/within the individual agent, an imperfect "imaging" of larger vectors, dogmas, genetics, beliefs, etc. am I even close? And even the idea of the physicality of topology as a kind of 'filter' (re:perception) is reflected in the synthetic pixel filtering beneathe the shroud-topology. as if the coding of the filter produces not only inner instantiations but external ones as well, which of course is the abolition of the subject/object dichotomy in any deconstruction which in this case seems to point to "constructionism" as it universal agent.. perhaps the frayed edges define the deconstructive agency, as if this particular individual or object has been wrenched from the grid, and these loose fibers represent a kind of annoyance to the smoothness of the artifice of "culture" or "perception" as an institution of the socium.
lq. ----- Original Message ----- From: "Alan Sondheim" <[EMAIL PROTECTED]> To: <[email protected]> Sent: Friday, July 29, 2005 9:13 AM Subject: Degas' Dancer, deconstruction, the west
deconstruction of deconstruction of Degas deconstruction of Painting deconstruction of Impressionism deconstruction of The West deconstruction of Culture deconstruction of Perception deconstruction of The Real http://www.asondheim.org/degaslegs3.jpg http://www.asondheim.org/degaslegs4.jpg http://www.asondheim.org/degasribbon.jpg _
