s a r a p e z z o l e s i
H O M E
I N F O
A perceived reality influenced through media that one is exposed to. With growth of social media networking sites one could create a mediality to others based on the user generated content they display and links they share to commercial content of personal interest thereby creating my mediality.
For example if one only consumes sports and local news media specific to a region then their opinions of things could be quite different than one who consumes only international news and genre specific entertainment, then these two individuals would have a differing “mediality”.
Something that repeats in a predictable way is a pattern. You might find a pattern in a series of numbers, in the material covering your couch, or in the habits of your upstairs neighbor.
The noun pattern could refer to a design or to customary behavior. Your patterns of behavior might include your morning cup of coffee and exercise. The word pattern can also be used as a verb form meaning “to model.” For example, your art might be patterned after the artwork of a famous artist.
“Meaning is out of reach and out of sight, but not because it has receded into the distance. It is because the code has been miniaturized. Objects are images, images are signs, signs are information, and information fits on a chip. Everything reduces to a molecular binarism. The generalized digitality of the computerized society.”
REALER THAN REAL The Simulacrum According to Deleuze and Guattari, Brian Massumi.
In what special way we are receiving reality? And... there is a very specific way?
The terms copy and model bind us to the world of representation and objective (re)production. A copy, no matter how many times removed, authentic or fake, is defined by the presence or absence of internal, essential relations of resemblance to a model. The simulacrum, on the other hand, bears only an external and deceptive resemblance to a putative model. The process of its production, its inner dynamism, is entirely different from that of its supposed model; its resemblance to it is merely a surface effect, an illusion.11 The production and function of a photograph has no relation to that.
REALER THAN REAL The Simulacrum According to Deleuze and Guattari, Brian Massumi
The terms “affect” and “affection” came to prominence in Gilles Deleuze and Félix Guattari’s A Thousand Plateaus, the second volume of Capitalism and Schizophrenia. In his notes on the terminology employed, the translator Brian Massumi gives the following definitions of the terms as used in the volume: AFFECT/AFFECTION. Neither word denotes a personal feeling (sentiment in Deleuze and Guattari). L’affect (Spinoza’s affectus) is an ability to affect and be affected. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body’s capacity to act. L’affection (Spinoza’s affectio) is each such state considered as an encounter between the affected body and a second, affecting, body (with body taken in its broadest possible sense to include “mental” or ideal bodies).
Affects, according to Deleuze, are not simple affections, as they are independent from their subject. Artists create affects and percepts, “blocks of space-time”, whereas science works with functions, according to Deleuze, and philosophy creates concepts.