process
The whirling appearance of Uzume is based
on the idea of a space that grows and changes dynamically
over time, and is "drawn" purely by movement.
After Aristotle, the dialectic of matter and space appears
in the movement. Movement is the material aspect of time and
there is no time without a subject. The material aspect of
time thus also determines a formal aspect.
Heinz von Foerster says in "Wahrnehmen wahrnehmen",
(Perceiving Perception) that it is the variation of what we
perceive, generated by movements, which enables us to experience
three-dimensionality.
Stanislaw Lem talks in 1964 of the "phantomatic machine",
stating that the effect of phantomatic can be considered as
an "art with feedback", that enables the former
recipient to become an active participant, a hero.
Oliver Sacks describes chaos as referring to systems that
are extremely sensitive to the smallest, partly infinitely
small, modifications in their initial conditions, and the
status of such systems quickly becomes unpredictable.
In "Medien-Zeit-Raum" (Media-Time-Space) Goetz
Grossklaus states that time becomes the actual medium of each
computer-generated simulation. As cybernetic space (Cyberspace),
the space of action and movement, is nothing else than a time
field.
Participants are challenged to "communicate"
with their movements and to motivate thus their opposite to
respond. It is fascinating to observe what a ëlively'
character the unpredictable behavior [of the chaotic system]
can assume.
Michael Heim's interpretation of the ancient Greek
term "prosopon" (face facing another face) describes
two faces that make up a mutual relationship, in that one
face reacts to the other, and the other face reacts to the
other's reaction. The relationship then creates a third
state of being that lives on independently.
Metaphoric spaces of virtual environments are not technologically
constructed, but rather shaped by the memories, emotions and
the social context of their inhabitants.
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