# Brian Massumi (2011). *The Diagram as Technique of Existence: Ovum of the Universe Segmented*. : MIT Press. > [!INFO] > Type:: [[&]] > Title:: The Diagram as Technique of Existence: Ovum of the Universe Segmented > Author(s): [[Brian Massumi]] > Year:: 2011 > Tags:: > DOI:: > Citekey:: massumi_diagram_2011 > ZoteroURI:: [Open in Zotero: The Diagram as Technique of Existence: Ovum of the Universe Segmented](zotero://select/items/@massumi_diagram_2011) > ReviewedDate:: [[2023-05-15]] ## Citation ```latex [@massumi_diagram_2011] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@massumi_diagram_2011]] and -"Plans" and -"resources" ``` ## Notes #### I - 색체는 다른 색 kin 도 포함한다. — all its potential variations. - Colors are convivial. “A” color “is an alteration of a complete spec- trum” (Westphal 1987, 84). - 일단 첫 시작을 색은 convivial (양립가능한) 하다는 (Westphal 1987, 84) 주장을 시작으로 한다 #### II - 그 다음은 괴테의 색체론 [[diagram]] 의 흐름을 시작으로 한다. > It required little thought to recognize that an edge was necessary to bring about color (Goethe 1972) - 괴테에게 스펙트럼은 친목적이다. 스펙트럼은 언제나 어둠과 함께한다. - 색체와 조명은 그들은 둘 다 서로의 지표 indicators 이자 전달자/운반인 bearers 이다. - 가장자리에 의해 being 에되는 서로 운반인인것. 하나의 선은 모든 것을 암시한다. 그림자같은 희미한 배경에 존재하는 지속적 변화들을 나타내며, 동시에 분리에 영향을 끼친다. - 실제로 나타나는 것의 스펙트럼 구분. 병합 merging; 새로 생성 중 emerging. 가상 virtual, 실제 actual. 하나의 줄. #### III - 색체와 지각 (퍼스, 1992b, 323-324, 261-262) - 퍼스은 인간의 마음의 발달로 인해 단절되고 이질적으로 보이는 몇 가지 산발적인 종류, 소리, 색깔, 냄새, 따뜻함 등을 제외한 모든 감정을 실질적으로 소멸시켰습니다. - ==연속적이 되어진 감정?== - 색깔의 경우 3차원적인 느낌의 확산 (hue 색조, saturation 포화, brightness 밝기) - 또한 이러한 발달은 여러 끝이 없는 차원을 한정된 가능성으로 축소시켰다. > Synesthesia. A color, smell, or touch is an emergent limitation of the synesthetic fold: its differentiation. #### IV > "Let the clean blackboard be a sort of Diagram of the original vague potentiality, or at any rate of some early stage of its determination...." (Peirce 1992b, 261–262). > Where did the continuity come from? It is nothing but the original continuity of the black board which makes everything upon it continuous. (Peirce 1992b, 261–262). > But the boundary between the black and white is neither black, nor white, nor neither, nor both. (Peirce 1992b, 261–262). - (검은 칠판 위의 흰 줄 그리고 그) 사이는 하지만, 검은색도 흰색도 둘다 아닌게 아닌것도, 둘다인 것도 아니다. - 이것은 두개의 연합된 둘이다. - 여기서 흰색은 active **Secondness** of the black - 검은 색은 the active **Secondness** of the white" - Firstness 새로운 것, 첫번째로, 동시에 그리고 무차별적으로 - Secondness 표면들의 눈에 보이는 분리입니다. - 이 분리는 실체적 경계선을 넘어서는 것으로, 그 자체는 알아차릴 수 없습니다. - 순수한 가장자리 - 검은색도 아니고 흰색도 아니다. 둘 다 아니다. 가상 회선입니다. > The virtual line is the activity of relation of the black and the white: a reciprocal coming-Second. > “Like the ovum of the universe segmented” (Peirce 1992b, 262). - 표면화된 것, 연속성은 divide 의 약쪽이다. > A “co-presence of disjunct elements”: the definition of space. (90) > A spatiality is emerging from its own potential time-likeness. (90) > Rather, the pure activity of their relating. Reciprocally, in their spatial separation. Recursively, in a kind of instantaneous oscillation joining the disjunct in mutual Seconding. Actively, reciprocally, recursively. Eventfully: the boundary preserves an edge of timelikeness. > Unenclosing, the line is not a boundary in the usual sense. > The virtual line is less an outline than a limit. > “The line is the relation" ^[James, William. 1950. Principles of Psychology. Vol. 2. New York: Dover, 149).] #### V ![[Screenshot 2021-02-24 at 19.18.15.png]] > The unity of the figure strikes the eye immediately, even though it is composed. It is a gestalt. Its figurative unity stands out from the multiplicity of its constituent marks. The edge has taken on a visible thickness. The line has propagated into an outline. (91) - 게슈탈트: 구조화된 figure의 통일이 눈에 확 들어오는것 > The imperceptibility of each mark’s virtual edge no longer presents itself, disappearing into the thick of boundaried vision. (91) - 이러한 virtual edge 는 스스로를 내새우지 못하고 두꺼운 가장자리의 시각으로 사라진다. - 이러한 묘하는 분명 스크린 프레임과 닮아있다. 하지만 그럴경우 실제가장자리와 가상 가장자리는 어떤 식으로 반응할까? Isn’t this the description of the frame edge in digital screen? > The direct “pairedness” of pure, open contrast is replaced by an opposition between mediated sames. (92) > Outside, inside are offset against each other as different regions defined by the boundary: they are spatialized.** Figure, ground, and their across-the-boundary relation are spatialized.** (92) 눈의 한계들, 그로인해 scattered vision 은 어떻게 연속적이 되는가? 코에의해 분리된 연속성은 어떻게 회복되는가? (93) > The figure is an habitual inattention to the imperceptible in vision. > 그 모습은 눈에 보이지 않는 시각에 대한 습관적인 부주의입니다. #### VI - 우리는 우리의 지각을 말할때 더블 비전으로 돌아간다. > Experience cannot be derived from them; it is they that emerge with experience. **Experience cannot be contained by them; they are among its contents.** They are derivations of a more open process: superadditions of habit. Creatures of habit, not grounds of perception (which, as we have almost-seen, is actively self-standing). (94) > > 경험은 그것들로부터 파생될 수 없으며, 경험과 함께 나타나는 것이 바로 그것들입니다. **경험은 그것들에 의해 포함될 수 없으며, 그것들은 경험의 내용 중 하나입니다.** 경험은 보다 열린 과정의 파생물, 즉 습관의 초추가입니다. 인식의 근거가 아닌 습관의 창조물(우리가 거의 보았듯이, 능동적으로 자립하는 것)입니다. > 우리는 form, figure/ground, 유클리드 공간, 그리고 선형 시간은 지각의 기초나 컨테이너가 아니라고 말한다. 경험은 그들에게서 얻어질 수 없다; form, figure/ground, 유클리드 공간, 그리고 선형 시간은 경험 속에서 emerge 되는 것이다. > **경험이 그들안에 수용되는 것이 어니다, 그들이 그것의 컨텐츠와 함께한다.** - 형체-바탕 현상은 세상에는 적용되지 않는다. - 이 말은 하나의 각각을 지각하고 하나로 모으는 것이 아니라, 처음부터 뭉텅이로 지각하고 산발적으로 분리시킨다는 의미일까? > We see our fill. 우리는 우리가 채운 것을 본다. 비전은 절대 문자 그대로의 것이 아니다. 언제나 비유적이다. 눈에 띄게 직접적이고, 지나치게 완전한 방식으로. > Vision is never literal, always figurative, in an outstandingly direct, overfull way. #### VII > What literally strikes our eye is **edging**. Not only color, but space, time, figure/ground, and formal stability, in their reciprocal difference and on their respective levels, all of these emerge from the edge of illumination.(95) - 여러 불충분한 정보들을 이어서 emerge from the edge of illumination. - 우리는 이미 답을 알고있다. > We already know the answer: by superadding to the seen.(95) - 우리는 본 것에 덧붙인다. > To get an emergent figure, you need to add senses other than vision. In particular, touch and proprioception, the registering of the displacements of body parts relative to each other. - 다른 감각을 더하기 > "급박한 상황을 파악하려면 시각 외에 다른 감각을 추가해야 합니다. 특히 촉각과 고유 수용성 감각, 신체 부위의 서로에 대한 변위를 등록하는 감각이 필요합니다." > > “To get an emergent figure, you need to add senses other than vision. In particular, touch and proprioception, the registering of the displacements of body parts relative to each other.” (Massumi, 2011, p. 95) *** - 두개의 감각이 반복적으로 연결된다고 할때, 그 반복은 예상되는 습관, 전-후의 경험의 실재가 된다. > Say the two intersensory conjunctions repeat. Next, their repetition is anticipated. Habit. The anticipation is recursive, since it arises retrospectively from an iteration of already repeated line crossings and conjunctions. Habit is the actual experience of a before-after, in a continuity of present conjunction. (95) > What now appears through the edging is not a simple boundary but a 3D contour. (96) > The eye is functioning synesthetically to see the unseeable. To oversee touch, proprioception, and its own present, skipping over the here-now of its own formative activity, fed forward in anticipation of thereafters. (97) > The objective extraction of identity arises out of movement. Vision’s synesthetic result stands on an oscillating kinesthetic “ground.” #### VIII > An opposition is not a duality in the Peircean sense. Duality is the self- standing positivity of still-active contrast, pure unmediated “pairedness”: the Secondness of a mutual Firstness springing forth from the formative chaos of vision. > Peircean 의식에 있어서 반대는 이중성이 아니다. 이중성은 여전히 활동적인 대조, 순수하고 중재되지 않은 "쌍성"의 자기 서 있는 긍정이다. 즉, 시력의 형성적 혼란에서 생겨나는 상호 퍼스트니스의 두 번째이다. (98) #### IX > The empty blackboard was a diagram of the “original vague potentiality” at “some early stage of its determination.” > Blank slate—singular proto-figure—stable figure—object identity—ideal standard—general model. All of these are diagrams in their own right, each in its own way. > 빈 슬레이트—단일 프로토타입—안정적인 형상—객체 ID—이상적인 표준—일반 모델. 이 모든 것들은 그 자체로, 각각의 방식으로 도표입니다. > The diagram in this sense is a constructivist technique of existence. It is a technique of bringing to new existence. A technique of [[becoming]]. (100) > 이러한 의미의 다이어그램은 건설주의적 존재 기법이다. 그것은 새로운 존재로 만드는 기술이다. > If, as Peirce’s definition says, diagramming is abstraction— an extraction of potential—then the very process of [[becoming]] determinately concrete is a process of abstraction (Whitehead 1967b, 51–55, 157–179; 1978, 7–8). > 피어스의 정의대로 도표화가 추상화(잠재력의 추출)라면, 결정적으로 구체화되는 과정은 추상화의 과정이다 > Law in its “original” sense is nothing other than the regularity of habit acquired in the chaotic course of emergent experience (Peirce 1992a, 276). (103) > What a design practice of this kind does is meta-model, in the way Félix Guattari speaks of it (in a very different sense of “meta-” than in [[Lev Manovich|Manovich]]’s “meta-media,” discussed in chapter 2 above; ([[@guattari_chaosmosis_1995]], 22, 33, 127– 128] ^[Genosko, Gary, and Andrew Murphie, eds. 2008. “Metamodeling” (special issue). Fibreculture, no. 12. http://twelve.fibreculturejournal.org.)] (103) > “Meta-” is to be understood here in its etymological sense of “among.” It refers not to the on-high of the ideal, but on the contrary to the spontaneous remingling of acquired regularities of practice with the emergence-level chance and indeterminacy from which they evolved.(103) > "메타-"는 "중간"이라는 어원적 의미에서 이해되어야 한다. 그것은 이상에서 높은 곳에 있는 것이 아니라, 반대로 그것들이 진화한 출현 수준의 기회와 불확실성으로 후천적인 규칙적인 연습의 자발적인 반복을 가리킨다. 물론 연습 자체가 혼란스러운 것은 아니다. > 습관이나 법칙과 자발성이 공존하는 것은 기껏해야 준혼란적이다^[James, William. 1996a. Essays in Radical Empiricism. Lincoln: University of Nebraska Press, 63–65). > 메타모델링은 자신과 타인을 위해 새로운 인물, 형태, 구조를 생성하면서 스스로 재생하기 위해 그 과정을 전략적으로 자신의 출현의 준혼란 분야로 되돌리는 관행이다. 따라서 규율, 고객 및 이해관계자 모두가 지속적 프로세스의 일환으로 잠재력을 최대한 발휘하도록 할 수 있습니다. > 혼합되기 Commingling : 관련 활동. 존재 기술은 관계의 기술이다. ### References - Peirce, C. S. 1992b. Reasoning and the Logic of Things. Cambridge: Harvard University Press. ## Annotation Extracted Annotations: 24/02/2021, 15:01:37 24/02/2021, 15:01:37 It required little thought to recognize that an edge was necessary to bring about color . [Link](zotero://open-pdf/library/items/WYWCCHUS?page=1 ) Synesthesia. A color, smell, or touch is an emergent limitation of the synesthetic fold: its differentiation. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=2 ) “Let the clean blackboard be a sort of Diagram of the original vague poten- tiality, or at any rate of some early stage of its determination. . . . T [Link](zotero://open-pdf/library/items/WYWCCHUS?page=3 ) Where did the continuity come from? It is nothing but the original continuity of the black board which makes everything upon it continuous. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=3 ) But the boundary between the black and white is neither black, nor white, nor neither, nor both. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=3 ) . A virtual line. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=3 ) “Like the ovum of the universe segmented” (Peirce 1992b, 262). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) . A “co-pres- ence of disjunct elements”: the definition of space. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) A spatiality is emerging from its own poten- tial time-likeness. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) Rather, the pure activity of their relating. Reciprocally, in their spatial separation. Recur- sively, in a kind of instantaneous oscillation joining the disjunct in mutual Seconding. Actively, reciprocally, recursively. Eventfully: the boundary pre- serves an edge of timelikeness. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) Unenclosing, the line is not a boundary in the usual sense. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) The virtual line is less an outline than a limit . [Link](zotero://open-pdf/library/items/WYWCCHUS?page=4 ) “The line is the relation” (James 1950, 149). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=5 ) The unity of the figure strikes the eye immediately, even though it is composed. It is a gestalt. Its figurative unity stands out from the multiplic- ity of its constituent marks. The edge has taken on a visible thickness. The line has propagated into an outline. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=5 ) The imperceptibility of each mark's virtual edge no longer presents itself, disappearing into the thick of boundaried vision. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=5 ) �� [Link](zotero://open-pdf/library/items/WYWCCHUS?page=5 ) The direct “pairedness” of pure, open contrast is replaced by an opposi- tion between mediated sames. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=6 ) Outside, inside are offset against each other as different regions defined by the boundary: they are spatialized. Figure, ground, and their across-the-boundary relation are spatialized. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=6 ) The figure is an habitual inattention to the imperceptible in vision. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=7 ) “the figure-ground phenomenon does not apply to the world” (Gibson 1986, 66)—even as we hang pictures on our walls. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=7 ) because space itself “has nothing to do with perception” in the act of edging in (Gibson 1986, 3)—as we measure where the new sofa might go. Or when we say that “we perceive not time but processes” of emergence (Gibson 1986, 12)—impatiently checking our watch. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) When we say these things, we are saying that form, figure/ground, Euclidean space, and linear time are not foundations or containers of per- ception. Experience cannot be derived from them; it is they that emerge with experience. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) ���t [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) Experience cannot be contained by them; they are among its contents. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) Vision is never literal, always figurative, in an outstandingly direct, overfull way. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) Bridge it over. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) Superadd it [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) ? Gloss over the gaps. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) What literally strikes our eye is edging . Not only color, but space, time, figure/ground, and formal stability, in their reciprocal difference and on [Link](zotero://open-pdf/library/items/WYWCCHUS?page=8 ) their respective levels, all of these emerge from the edge of illumination. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=9 ) “Saccade”: the constant, involuntary micro-jerking of the eyeballs in their sockets. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=9 ) We already know the answer: by superadding to the seen. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=9 ) To get an emergent figure, you need to add senses other than vision. In particular, touch and proprioception, the registering of the displacements of body parts relative to each other. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=9 ) Say the two intersensory conjunctions repeat. Next, their repetition is anticipated. Habit. The anticipation is recursive, since it arises retrospectively from an iteration of already repeated line crossings and conjunctions. Habit is the actual experience of a before-after, in a continu- ity of present conjunction. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=9 ) . What now appears through the edging is not a simple boundary but a 3D contour. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=10 ) The eye is functioning synesthetically to see the unseeable. To oversee touch, proprioception, and its own present, skipping over the here-now of its own formative activity, fed forward in anticipation of there- afters. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=11 ) The objective extraction of identity arises out of movement. Vision's synesthetic result stands on an oscillating kinesthetic “ground.” [Link](zotero://open-pdf/library/items/WYWCCHUS?page=11 ) An opposition is not a duality in the Peircean sense [Link](zotero://open-pdf/library/items/WYWCCHUS?page=12 ) The empty blackboard was a diagram of the “original vague potential- ity” at “some early stage of its determination.” [Link](zotero://open-pdf/library/items/WYWCCHUS?page=13 ) Blank slate—singular proto-figure—stable figure—object identity—ideal standard—general model. All of these are diagrams in their own right, each in its own way. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=14 ) The diagram in this sense is a con- structivist technique of existence . It is a technique of bringing to new exis- tence. A technique of becoming. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=14 ) If, as Peirce's definition says, diagramming is abstraction— an extraction of potential—then the very process of becoming determinately concrete is a process of abstraction (Whitehead 1967b, 51–55, 157–179; 1978, 7–8). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=14 ) Perhaps there are nonstandard constructivisms (Migayrou 2004). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=15 ) A nonstandard constructivism would no longer be a modeling. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=15 ) It might, for example, select several sets of potentials that do not habitually share the same space or before-after each other in an easily anticipated way. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=15 ) . This inhabiting event is the medium of architec- ture. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=16 ) Two medium moment [Link](zotero://open-pdf/library/items/WYWCCHUS?page=16 ) Law in its “original” sense is nothing other than the regularity of habit acquired in the chaotic course of emergent experience (276). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=17 ) What a design practice of this kind does is meta-model , in the way Félix Guattari speaks of it (in a very different sense of “meta-” than in Manovich's “meta-media,” discussed in chapter 2 above; Guattari 1995, 22, 33, 127– 128; Genosko and Murphie 2008). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=17 ) “Meta-” is to be understood here in its etymological sense of “among.” It refers not to the on-high of the ideal, but on the contrary to the spontaneous remingling of acquired regularities of practice with the emergence-level chance and indeterminacy from which they evolved. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=17 ) quasi-chaotic (James 1996a, 63–65). [Link](zotero://open-pdf/library/items/WYWCCHUS?page=17 ) Meta-modeling is a practice that strategically returns its process to the quasi-chaotic field of its own emergence, in order to regenerate itself as it generates new figures, forms, and constructs, for itself and others. [Link](zotero://open-pdf/library/items/WYWCCHUS?page=17) ### Related ```dataview LIST FROM [[@massumi_diagram_2011]] and -"Plans" and -"resources" ```