These swift angelic messengers, who transgress all enclosures in their speed, tell of the passage between the envelope of God and that of the world as micro- or macrocosm. They proclaim that such a journey can be made by the body of a man, and above all the body of a woman.The stakes of Irigaray's angelology are the unexplored possibilities of relations between men and women, but also between women, each other and themselves. For Irigaray the figure of the angel stands as a mediator that speaks on behalf of desire, and particularly on behalf of a specifically feminine desire that has learned to speak on its own account without reliance on masculine categories. But where is the link between language, desire and skating?
Sometimes I imagine a sorority of angels, riding concrete waves, and dancing as they go.They speak like messengers, but gesture seems to be their "nature." Movement, posture, the coming-and-going between the two. They move-or stir up?-the paralysis or apatheia of the body, or the soul, or the world. They set trances or convulsions to music, or give them harmony.
These are the physics of culture. And if these algorithms, like the algorithms on Wall Street, just crashed one day, went awry, how would we know? What would it look like?
It seems I am trying to tell you a dream--making a vain attempt, because no relation of a dream can convey the dream-sensation, that commingling of absurdity, surprise, and bewilderment in a tremor of struggling revolt, that notion of being captured by the incredible which is the very essence of dreams...
Digital dualists believe that the digital world is “virtual” and the physical world “real.” This bias motivates many of the critiques of sites like Facebook and the rest of the social web and I fundamentally think this digital dualism is a fallacy. Instead, I want to argue that the digital and physical are increasingly meshed, and want to call this opposite perspective that implodes atoms and bits rather than holding them conceptually separate augmented reality.
This of course is a caricature. Insofar as Morozov recognises the efficacy of crowd sourcing intelligence online we have to admit that digital dualists may admit varying degrees and directions of influence between the two realms. Indeed, politically speaking this might make all the difference. Hence the extent of theorists cynicism with regard to work with social media may prove to be a valuable index of their politics in an age coming to terms with the possibilities for augmented reality....the problem with social media is that people are trading the rich, physical and real nature of face-to face contact for the digital, virtual and trivial quality of Facebook. The critique stems from the systematic bias to see the digital and physical as separate; often as a zero-sum tradeoff where time and energy spent on one subtracts from the other.
“They call me an invader and I work in the credit department of Banco de Venezuela,” said Mr. Hernández, referring to the state-owned institution that he says employs him. “Society hates us, and the government doesn’t know what to do with us. Do they really think we want to be living in the Tower of David?”
What could be more luminous than a space traversed with messages? Look at the sky, even right above us. It's traversed by planes, satellites, electromagnetic waves from television, radio, fax, electronic mail. The world we are immersed in is a space-time of communication. Why shouldn't I call it angel space, since this means the messengers, the systems of mailmen, of transmissions in the act of passing or the space through which they pass? Do you know, for example, that at every moment there are at least a million people on flights through the sky, as though immobile or suspended - nonvariables with variations? Indeed, we live in a century of angels.
A verb or a substantive chosen from the galaxy of Ideas, from the categories either in consciousness or in the subject, spawns systems or histories that are static, even if they claim to describe a process of becoming. It's better to paint a picture of relations and rapports - like the percolating basin of a glacial river, unceasingly changing its bed and showing and admirable network of forks, some of which freeze or silt up, while others open up - or like a cloud of angels that passes, or the list of prepositions, or the dance of flames.It is through this self-consciously constructed modern myth of the angel that he seeks to promote a sensitivity to the multiplicity of messengers and messages that is often overlooked in the supposition of a single overriding message or meaning, and an openness or hospitality to the contingent events that the fortuitous encounters of those messengers and their messages bring about. For Serres the virtue of angels is that they are 'restless', unsystematic' and cannot be pinned down. Though their passing can be traced, their location remains uncertain:
I imagine that for every angel there is a corresponding preposition. But a preposition does not transport messages; it indicates a network of possible paths, either in space or time.Above, below, before, behind, amongst, inside or outside; the number of possible prepositions correspond to the number of media. And multiplying the media is likely to multiply the number of mediators. One interesting example might involve the innovation of the Sukey anti-kettling tool. What is amazing about the Sukey tolls are that all of the technology is openly available and requires only a relatively small amount of technical knowledge to set up. Through the combined use of mobile telephony, the internet, and old fashioned word of mouth, it enables the Sukey team to crowd source geo-located information on police positions at demonstrations and relay that back to users so as to indicate police positions relative to the users. All this is achieved without disclosing the users' locations to the police force attempting to kettle them. Electronic messages are relayed between protestors, whose own bodies are a signal or message to the powers that be by virtue of their co-presence on the streets.
"Would utopia be composed of buildings? Once composed, would those buildings cease to be utopic?"In the wonderfully poetic passage that follows his female lover elaborates on the aspects of everyday life that elude or exceed the neurotic concerns of an obsessive architectural programme. As the aritst succinctly put it in a brief email exchange "things have changed but the buildings remain the same. Is the solution to rebuild, or is the solution to reorganise history?"
While the film does not fail to romanticise UrbEx, what lover doesn't, it does succeed in striking an honest balance in depicting the fantastic excitement and many risks involved.I try to peel back the layers of a city to see what's underneath. From the tops of bridges to the depths of sewer tunnels, these explorations of the urban environment help me puzzle together the interconnected, multi-dimensional history and complexity of the great metropolises of the world.
