Netzhammers raffiniert präzise Bildrhetorik eröffnet ein subtiles Spiel, das dem Betrachter jede Lesart erlaubt und ihm diese sogleich widerlegt.
If sensory perception of the world takes place prior to all consciousness, one might ask, finally, what this “prior to consciousness” means – is it an unconscious or rather a non-conscious?
Is it even possible to create swarms artificially – to produce them as art?
Atmospheres are ontologically puzzling: a surplus, a not really there, an in-between state, a feeling that is somehow nowhere.
Feelings are operative at every scale of process from the most minimal (atomic processes) to the most maximal (geophysical change).
Is it idolatrous to say that objects are themselves lively, that they have capacities to affect and be affected?