July 2010
Chemero’s experiment, published March 9 in Public Library of Science, was designed to test one of Heidegger’s fundamental concepts: that people don’t notice familiar, functional tools, but instead “see through” them to a task at hand, for precisely the same reasons that one doesn’t think of one’s fingers while tying shoelaces. The tools are us.
Brandon Keim for the WIRED Science Blog
I’ve always taken this literally, and consider myself and others to be cyborgs. We offload our knowledge and points of reference into technology to such a degree that we can hardly function without it; but with it we become infinite capability machines. We transcend ourselves immediately upon picking up an iPhone. Silly, but true.
The magic of coin tricks, one might say, is a function of our brains’ hardwired abhorrence of causal vacuums in local environments. The integration of natural objects into causal backgrounds is the default, which is why, we might suppose, the sense of magic immediately evaporates when we look over the magician’s shoulder and the causal history of the coin is revealed. The magic of coin tricks, in other words, depends on our brains’ relation to the coin’s causal history. Expose that causal history, and the appearing coin seems a natural object like any other. Suppress that causal history (through misdirection, sleight of hand, etc.), and the appearing coin exhibits beforelessness. It seems like magic.
I bring this up because so many intentional phenomena exhibit an eerily similar structure. Consider, for instance, your present experience of listening. The words you hear ‘are simply there.’ You experience me speaking; nowhere does the neurophysiology–the causal history–of your experience enter into that experience as something experienced. You have no inkling of sound waves striking your eardrum. You have no intuitive awareness of your cochlea or auditory cortex. Like the coin, this experience seems to arise ‘ready made.’
The Experiment
We can close our eyes and still we have a strong sense of our environment. We have approximate knowledge of the size of the room, the objects within it, its light levels and so on. We can sum details of the room to mind and we can strenuously attempt to consider the room as a whole. We can play in this space, because it is a dream space. It is not the room, it is us. It is our mind.
Open your eyes.
What has changed?
“Dot Dash” by Wire
(via figout)
My first anonymous ask and it’s from a real anonymous individual who physically stalked me while I ranted about clocks. This isn’t how it’s supposed to happen.
Werner Herzog
(via frenchtwist)
Additional: In interview, Werner Herzog has claimed to be among those who do not remember their dreams, and supposed that his lack of a dream-world may be largely responsible for the elasticity of “truth” in his films.
DONT BE A FUCKING SLAVE
“Crime in the City” by Neil Young
A Place To Bury Strangers
- “Keep Slipping Away”
- “Smile When You Smile”
I was the dreamweaver
but now I’m reborn
I was the walrus
but now I’m John
and so dear friends
you’ll just have to carry on
“Pusherman” by Curtis Mayfield
(via stonerparty)