plato in Barok 2014
s in
accord with inherent quality of its material medium -- a sheet of paper has a
shape which in turn shapes a body of a text. This tradition goes as far as to
the Ancient times and the bookroll in which we indeed find textual grids.
[](/File:Papyrus_of_Plato_Phaedrus.jpg)
[](/File:Papyrus_of_Plato_Phaedrus.jpg "Enlarge")
A crucial dif
body of the text to count in. This would mean to render
operators unreferrable and count as in _scriptio continua_.
_Scriptio continua_ is a very old example of the linear onedimensional
treatment of the text. Let's look again at the bookroll with Plato's writing.
Even though it is 'designed' into grids on a closer look it reveals the lack
of any other structural elements -- there are no spaces, commas, periods or
line-breaks, the text is merely one flow, one long line.
_Phaedrus_ was written in th
plato in Barok 2014
e such as a
sentence, a paragraph, or a document.
## (F) The
structure[[edit](/index.php?title=Talks/Poetics_of_Research&action=edit§ion=1
"Edit section: \(F\) The structure")]
This distinction is as old as recorded Western thought since both Plato and
Aristotle differentiate between a word on its own ("the said", a thing said)
and words in the company of other words. For example, Aristotle's _Categories_
[lay] on the [notion] of words on their own, and they are made the subject-
matter of that
, to different things, but what is stated may become
clear in one category. Substance indeed, is itself genus, under this is body,
under body animated body, under which is animal, under animal rational animal,
under which is man, under man Socrates, Plato, and men particularly." (Owen
1853,
9(http://www.ccel.org/ccel/pearse/morefathers/files/porphyry_isagogue_02_translation.htm#C2))
Porphyry took one of Aristotle's ten categories of the word, substance, and
dissected it using one of his four rhet
plato in Constant 2009
dy)
William Forsythe, for instance, considers classical ballet as a historical
form of a knowledge system loaded
with ideologies about society, the self,
the body, rather than a fixed set
of rules, which simply can be implemented. An arabesque is a platonic ideal for him, a prescription,
but it can't be danced: “There is
no arabesque, there is only everyone's arabesque.” His choreography
is concerned with remembering and
forgetting: referencing classical ballet, creating a geometrical alphabet,
w
en seen as a danger because it tends to reinforce what
have historically, in the Western world at least, been some of the more
oppressive tendencies to affect women and all the other bodies that
haven't quite fitted the philosophical ideal. Both the Platonic and
Christian traditions have tended to dismissing or repress the body,
and with it all the kind of messy, gritty, tangible stuff of culture,
as transient, difficult, and flawed. And what has been elevated is of
course the much more formal, ideali
plato in Constant 2016
ng,Reckard
Reckard
Păltineanu, Nicolas
Luetgert , Donatella
Sînziana
Malevé
Portoghese Păltineanu
P.7
Gustave AbeelsHarm Post
Henri La
Fontaine
Henri La
Fontaine
Henri La
Fontaine
Mathilde Lhoest,
Henri La
Henri La
Fontaine
Fontaine
Igor PlatounoffWilhelmina
Coops, Igor
Platounoff
Annie Besant, Jean François Jean Otlet Jr. Bill Echikson, Jean-Paul Deplus
Annie Besant, Louis Masure,Unidentified Woman,
Marcel Flamion
Jean Delville Fueg
Jean-Paul Deplus
Jiddu
Mademoiselle Poels,
Mademoisell
plato in Dean, Dockray, Ludovico, Broekman, Thoburn & Vilensky 2013
ature Volume
2, Shierry Weber
Nicholsen (trans),
Rolf Tiedemann
(ed), New York,
Columbia University
Press, 1992, p20.
13. Stéphane
Mallarmé, ‘The
Book: A Spiritual
Instrument’,
Bradford Cook
(trans), in Hazard
Adams (ed), Critical
Theory Since Plato,
New York, Harcourt
Brace, 1971, p691.
NT Taking a lead from some of these points, I’d like to turn to the material
forms of the book and the archive. Sensory form has historically played a key
role in constituting the body, experience, and metaph
plato in Dockray 2010
contrast, crops out the use
less bits, sharpens the text, and occasionally even
attempts to read it. All of this computation wants
to repress any traces of reading and scanning, with
the obvious goal of returning to the pure book, or
an even more Platonic form.
That purified, originary version of the text
might be the e-book. Publishers are occasionally
skipping the act of printing altogether and selling
the files themselves, such that the words reserved
for “
well-scanned”books ultimately desc
plato in Fuller & Dockray 2011
ind of an inevitable outcome. There are
movie sharing sites that are really good about quality control both in the
metadata and what gets up; but I think that if you follow that to the end,
then basically you arrive at the exported version being the Platonic text, the
impossible, perfect, clear, searchable, small - totally eliminating any trace
of what is interesting, the hand of reading and scanning, and this is what you
see with a lot of the texts on Aaaaarg. You see the hand of the person who's
rea
plato in Stalder 2018
sion sets, the screens of which were "distorted" by magnets. Here,
however, "distorted" is a problematic term, for, as Paik explicitly
noted, the electronic images were "a beautiful slap in the face of
classic dualism in philosophy since the time of Plato. \[...\] Essence
AND existence, essentia AND existentia. In the case of the electron,
however, EXISTENTIA IS ESSENTIA."[^71^](#c1-note-0071){#c1-note-0071a}
Paik no longer understood the electronic image on the television screen
as a portrayal or rep
plato in Thylstrup 2019
phorism that ‘knowledge is power.’ But, as the historian Stephen Gaukroger
argues, this is not a claim about knowledge: it is a claim about power.
‘Knowledge plays a hitherto unrecognized role in power,’ Gaukroger writes.
‘The model is not Plato but Machiavelli.’1 Knowledge, in other words, is an
instrument of the powerful. Access to knowledge gives access to that
instrument of power, but merely having knowledge or using it does not
automatically confer power. The powerful always have the
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